Much has been written on the early symbolism of plants and flowers. The sun-myths have enlisted all floral legendary lore, and conventional ornament was largely drawn from them.
Many symbols are present to us when we name certain plants. The lily is the acknowledged sign of purity, the rose of love, the honeysuckle of enduring faith, the laurel of poetry, and the palm of victory; the oak of strength, the olive of peace. Some plants have accumulated more than one meaning. The vine has many attributes. It is an emblem of the mysteries of the Christian Church. It symbolizes plenty, joy, the family. Ivy means friendship, conviviality, remembrance.
The symbolism of beasts (bestiaria),[121] of birds (volucraria), and of stones (lapidaria) filled many volumes in the mediæval ages, and are well worthy of the study of the decorative artist. The symbolism of animals and birds especially, constantly attracts our attention in the Oriental and Sicilian textiles of the early Christian times, and to the end of the thirteenth century. Later, in European textile decoration, most animals were accepted as emblematic in Christian art, beginning with the symbols of the four Evangelists. All the virtues and all the vices found their animal emblems conventionalized, and were thus woven, embroidered, and painted.[122]
Reptiles and insects are included under the head of “beasts,” and perhaps fishes also. Each was dowered with a symbolical meaning; and thus admitted into art, they were conventionalized by being strongly outlined, coloured flat; and by repetition without variation, were converted into patterns.
Pl. 28.
1, 2. Gothic Tiles. 3. Gothic Border of a Dress. 4. Gothic Vine. Westminster Abbey.
When the use of heraldic illustration was added to the already accepted symbolism, animal decoration became very common, and soon forgot its symbolical motives, which were succeeded by Renaissance fanciful patterns; and then the conventionalized beast and its symbolism disappeared from European decoration, except when it was a direct copy of an Oriental design.
Certain symbolical forms have, however, survived. The eagle has always meant empire, and the double-headed eagle, a double royalty.[123] Ezekiel represents Babylon and Egypt, symbolically, as two eagles.[124] But here we approach the subject of heraldry, which became a science in mediæval days; and every man and woman in any way remarkable, every chivalrous action and national event, became a subject for textile art, and was woven or worked with the needle on banner, hanging, or dress. The altar decorations received a new stimulus as historical records, as well as religious symbols, and pride and piety were equally enlisted in these gifts to the Church.