The Cross in Ritual, Architecture and Art — John Shaqi
The Cross in Ritual, Architecture and ArtTyack, Geo. S. (George Smith)
History
The Cross in Ritual, Architecture and Art
Tyack, Geo. S. (George Smith)
Crosses
Without question the most striking cross used in the decoration of a
church is the great Crucifix, or rood, placed on the chancel screen,
generally with the figures of the Blessed Virgin and S. John the
Evangelist as supporters. Naturally an ornament of this kind presupposes
not only a certain fearlessness on the part of the church in publicly
displaying her sacred symbols, but also a command of the resources of
wealth and an advanced state of art. We are therefore quite prepared to
find that the rood was not a very early addition to the adornment of a
church. We read, indeed, of some comparatively early instances in which
the figure of the Crucified Lord was painted on the ceiling of the choir,
or of the apsidal sanctuary; an example of which exists in Ravenna, in
which the Saviour is robed in eucharistic vestments, and is accompanied by
S. Michael and S. Gabriel. The cross upon the screen, however, is not
traced further back than the eighth century, and the rood with its full
complement of figures and lights can claim only a mediæval date.
It lies beyond the scope of our subject to discuss the development of the
choir-screen, from the curtains once hung before the altar to the broad
and solid gateways of carved stone, built beneath the chancel arch, or
even further west. Eventually these became a universal feature in church
architecture; of wood usually in parish churches, of stone in the larger
collegiate churches, in abbeys, and in cathedrals. Fine examples exist in
England; at York, Lincoln, Exeter, Wells, Canterbury, Bristol, Southwell,
Ripon, Christchurch (Hampshire), Tattershall (Lincolnshire), and
elsewhere; but the parish churches, which had timber screens, have
naturally not been successful in preserving for us so many examples as we
have of the more solid erections, though we have, even of them, many of
which we may be proud.
When complete these screens had a broad gallery or loft at the top, access
to which was obtained by a winding stair at one, or sometimes at each,
end. In several places, as at Lavenham (Suffolk), S. Martin's, Stamford
(Lincolnshire), Wells (Norfolk), and Long Melford (Suffolk), the external
turret which contained this stair still remains; in other cases, as at
Alford in Lincolnshire, a massive pillar was pierced to find room for the
steps.
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