Page 209

Page 209

RELIGIOUS ENCYCLOPEDIA Symbolism, Ecclesiastical

forms, from the pedestals of which waters issue, represented sea and rivers, especially the Red Sea and the Jordan. Nymphs of the springs appear also, while the seated matron may represent the city if she have a tesselated crown. The Codex Rossanensis introduces a new Christian creation, wisdom, or inspiration; death is presented as a half-naked youth seated upon a sarcophagus, and prayer was also personified.

8. The Middle Ages: In the Middle Ages there was a great inrush of new forms and ideas, derived not only from the influence of the Bible and the sermon, but also from the liturgy, the legends of the saints, the religious drama, and the moralities,

from fable, and indeed from scholar-

1. Trinity, ship. Yet only a small part of what Christ, lgary. was available was really employed. The mystery of the Trinity was repre sented by the triangle, by three rings interlaced, or by a triplet of like-formed animal shapes; while about the end of the period issued a three-headed form. The number three had an important part in architecture and artistic composition. The Holy Spirit was still figured as a dove, while doves repre sented likewise the seven gifts of the Spirit, only exceptionally did this person of the Trinity appear in human form as a lad. The life of Jesus afforded a rich material. For the incarnation the unicorn legend was used-hunted by Gabriel and his four hounds, pity, truth, justice, and peace, the unicorn took refuge in the protection of the seated virgin. The virgin birth is connected in symbolism with the virginity of Mary, as by the use of the lily. So from the Old Testament into connection with the life of Christ were brought the burning bush, the vessel with manna, the rod of Aaron which sprouted, etc. The sufferings and death of Christ were symbolized by the lamb with the cross-banner or the stream of blood flowing from its breast. The self-sacrificing death of Christ was figured by the pelican which pierced its breast to give drink to its young. The lioness also appeared, bringing to life by breathing upon it her stillborn cub. The lion represented the evil powers and the devil. Christ's exaltation was figured by showing him seated upon a throne or a rainbow, a lily branch (grace) issuing from his head, while a sword denoted justice. The Virgin Mary was portrayed as queen of heaven with diadem, scepter, and throne, and with her were pictured sun, moon, and stars; as " mother of pity " she wore a mantle which was caught up by the wind and cov ered those who sought her help; to her the lily and the rose were sacred; the red rose symbolized her sufferings, the white her joy. The functions of prophets and apostles and certain doctors of the Church as teachers were represented by the book or roll which was given them in art; to some, certain definite articles gave character and distinction-the lyre to David, the keys to Peter, or the sword of martyrdom distinguished Paul; the founders of churches sometimes bore in the hand a model of the church. Of course the Church had its figures representing itself, In the most beautiful representations of the Middle Ages the Church appeared as a royal woman, crowned, carrying the banner of victory and the XL-14

cup; or Christ on the cross crowned her, or she caught from his wounded side the flowing blood, and a prophet was her companion; her

2. The significance for salvation was repre-

Vhnrch, sented by a ship or the ark. Opposed and Vice'.. to her stood the s3'nagogue, unbelieving Judaism, a feminine form, in the right hand a cracked staff and in the left a table of the law falling to earth; a bandage covered her eyes, and the crown was falling from her head. The influence of the religious drama. was felt here, and the popular feeling against Judaism registered itself in art by picturing Judaism under the figure of the swine. For the sacrament the cup and ears of grain had their symbolism; the cup on a gravestone indicated the priestly character of the deceased. Transubstantiation had also its symbolism in the " mill of the host." Of course, the moralizing character of the Church was displayed here, and the virtues appeared on portals, in the chancel, on memorials of the dead, and in the patterns of the carpets. Practically always they appeared as female forms: Faith had the cup and the cross, Justice had the balance, Charity (or love) protected a beggar or a child, Hope looked off in the distance or stretched out her hand for a crown, Prudence held a book, Bravery made preparation (for defense or attack), Temperance had a measuring instrument, Chastity was represented by a palm, phenix, or a nesting dove, Humility by a dove, Perseverance by a crown, Harmony by an olive branch. Naturally this symbolism induced the figuring of the opposites: Idolatry was shown by a man worshiping an idol, Desperation by a man committing suicide with a sword, Inconstancy by a monk fleeing from the monastery.

As the seasons symbolized the changing course of human life, so the wheel of fortune was especially employed for this purpose, being taken in from pre-

Christian art after being passed over 3. Later by early Christian symbolism. It be Forms and came a great favorite as a moralistic Conceptions. medium. The destructive might of death was set forth by the figure of a man weeding a garden or felling trees, or of a rider (Rev. vi. 8) with stretched bow, or more extensively as an emaciated old man which developed into the skeleton with sickle and hour-glass. The dance of death (see DEATH, DANCE OF), a favorite theme in art, is in origin connected with the devastation of the Black Death. The departing soul was usually pictured as a small, naked, sexless, human figure, issuing from the mouth. The last judgment was also a subject of art, in which the revenge of the monsters of hell occupied the central place, while the devil was a prominent figure. Upon the devil played all the popular richness of imagination and grotesqueness; hence developed the human figure in varied shapes, with horn of goat, hoof, bat's wings, and tail; he even appeared as a black bird inspiring Pontius Pilate. There was in connection with this theme not a little also of the humorous. There was a great revival of the antique in art as in literature. Sirens, centaurs, the Sibyl, Plato, and Aristotle are common figures. Great difficulty attends the understanding of the meaning of the scenes. in which