The Symbolism of Churches and Church Ornaments / A Translation of the First Book of the Rationale Divinorum Officiorum

by Guillaume Durand

ANALYSIS OF THE INTRODUCTORY ESSAY

INTRODUCTION.

1. Spread of the study of Church Architecture.
2. Obvious, but indefinable, difference between old and new churches.
Wherein this consists.
Not in association,
Nor in correctness of details,
Nor in the Picturesque,
Nor in the Mechanical advantages,
But in Reality considered, in an enlarged view, as Sacramentality.
3. This probable,
from examples, and
promises in Holy Scripture.
Catholic consent,
examples to the contrary,
philosophical reasons.
4. Enunciation of the subject.
5. Writers on the subject,
Pugin, Poole, Lewis, Coddington, the writers of the
Cambridge Camden Society.

A. ARGUMENTS FOR SYMBOLISM.
I. A PRIORI.
Symbolising spirit of Catholic Antiquity, in
(a) Interpretation of Holy Scriptures.
(b) Analogy of the Jewish Ceremonies.
(c) Private manners.
(d) Emblems in Catacombs, etc.
(e) Symbolical interpretation of Heathen writers.
II. ANALOGICAL.
i. Examples of other nations.
(a) Jews.
(1) Temple rites.
(2) Legal observances.
(3) Sacred books.
(b) Turks.
(c) Infidels.
(1) Hindu and Egyptian Mythology
(2) Persian Poetry.
(d) Heretics.
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ii. From Nature.
(a) Trinity.
(b) Resurrection.
(c) Self-sacrifice,
iii. From Art.
(a) Sculpture,
(b) Painting.
(c) Music.
(d) Language of Flowers.
iv. Parabolical teaching.
III. PHILOSOPHICAL.
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.
IV. ANALYTICAL.
1. Cruciformity.
2. Ascent to Altar.
3. Orientation.
4. Verticality.
V. INDUCTIVE.
Express and continuous testimony.
(a) Apostolical Constitutions.
(b) Eusebius.
(c) Symbolical writers.
Actual examples.
VI. RECAPITULATION.

B. EXAMPLES OF SYMBOLISM.
I. DOCTRINES.
(a) The Holy Trinity, set forth in
i. Nave and Two Aisles.
ii. Chancel, Nave and Apse,
iii. Clerestory, Triforium, and Pier Arches,
iv. Triple windows.
v. Altar steps.
vi. Triplicity of mouldings,
vii. Minor details.
(b) Regeneration.
i. The octagonal form of Fonts,
ii. The octagonal form of Piers,
iii. Fishes.
(c) Atonement.
i. Cruciformity.
ii. Deviation of Orientation.
iii. Double Cross,
iv. The threat Rood.
v. Details.
(d) Communion of Saints.
II. DETAILS.
(a) Windows: a series of examples.
(b) Doors.
i. Norman tympana.
ii. Double doors in Early English.
(a) These explained in two ways,
(1) Christ's entrance into the world.
(2) Our entrance into the kingdom of heaven.
(b) Difference between mouldings of Chancel arches and doors.
(c) Porches.
(d) Chancel Arch and Rood Screen.
(e) Monuments.
(a) Difference of ancient and modern symbolism in these,
(1) Sceptical character of the present age.
(2) Paganism of modern design.
(3) Reality of ancient design.
(b) Historical details of Monuments.
(f) Gurgoyles and Poppyheads.
(g) Flowers used in architecture.

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.

Laus Deo

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