Attention has been drawn by Mr W. F. Hobson to an early allusion to orientation, involving, as he considers, the principle of deflection also. The passage occurs in the writings of St Paulinus of Nola, c. A.D. 420. Speaking of a church which he had built, St Paulinus remarks, “_Prospectus basilicae vero non, ut usitatior mos est, Orientem spectat, sed ad Domini mei B. Felicis basilicam pertinent Memoriam ejus aspiciens_[598].” The statement is that the outlook of the church was not directed towards the East, following the more common practice, but towards a certain basilica, containing a particular tomb, that of the martyred presbyter, St Felix. That we have here an early instance of orientation is manifest, but whether “_aspiciens_” may be interpreted so as to prove deflection is doubtful. It is, however, possible that while the church had its general alinement to the sacred basilica, there was a bend or slant which caused the “chancel”--speaking conventionally--to face the monument. Mr Hobson urges that, from orientation towards a tomb and orientation for a Saint’s Day there is but a slight transition[599]. We will now attempt to sum up the evidence. Skew chancels were, in some cases at least, due to carelessness or unskilfulness. A few deflections seem to have been caused by the architect’s dislike to build on old foundations--a prejudice felt by Wren in re-building St Paul’s. The Saint’s Day theory may hold for some examples, since a few positive instances of observance, if these can be produced, cannot be nullified even by many negative exceptions. As to the symbolism of the leaning head, whimsical though it may at first sight appear, one cannot dismiss it as mere folly. Mediaeval symbolism was no dead art, and it is visible in many guises, though to a less extent than its advocates would insist. Unless, therefore, we are to believe that symbolical explanation is altogether an after-thought--the creation of cultured ecclesiastics--we have to find a reason for its existence in Mediaeval days. And, if the idea be so old as the foundation of our finest churches, we may conjecture that it received an embodiment in architecture. Lastly, the theory of artistic design, though least advocated, seems most in consonance with all the facts. The deflection does cause an agreeable optical illusion; and it is probable that this was intended. While we search in vain for some early document to throw a glimmering of light on the problem, we are bound to consider all tentative solutions unsatisfactory. He would be a bold man who should unhesitatingly affirm that one explanation will meet every case, and hardier still would be the prosaic architect who should dismiss every instance of deflection as the result of pure chance or blundering ignorance. CHAPTER VI THE ORIENTATION OF GRAVES