The Grotesque in Church ArtWildridge, T. Tindall (Thomas Tindall)
History
The Grotesque in Church Art
Wildridge, T. Tindall (Thomas Tindall)
Christian art and symbolism; Church decoration and ornament; Grotesque
We at this day may be excused for not participating in the good St.
Bernard's dislike to the "hideous beauties" of the grotesque, and for not
deploring, as he does, the money expended on their production. For many of
them are the embodiments of ideas which the masons had perpetuated from a
period centuries before his time, and which could in no other way have
been handed down to us. There are many reasons why books were unlikely
media for early times; for later, the serious import of the origin of the
designs would be likely to be doubted; and for the most part the special
function of the designs has been the adornment of edifices of religion.
They were, in fact, religious symbols which in various ages of the world
have been used with varying degrees of purity. One of the Rabbis,
Maimonides, has an instructive passage on the rise of symbolic images.
Speaking of men's first falling away from a presumed early pure religion
he says:--"They began to build temples to the stars, ... and this was the
root of idolatry ... and the false prophet showed them the image that he
had feigned out of his own heart, and said it was the image of that star
which was made known to him by prophecy; and they began after this manner
to make images in temples and under trees ... and this thing was spread
throughout the world--to serve images with services different one from
another and to sacrifice unto, and worship them. So in process of time the
glorious and fearful name was forgotten out of the mouth of all living ...
and there was found on earth no people that knew aught save images of wood
and stone, and temples of stone which they built." The ancient Hindoo
fables also indicate how imagery arose; they speak of the god Ram, "who,
having no shape, is described by a similitude." The worship of the "Host
of Heaven" was star-worship, or "Baalim."
The Sabean idolatry was the worship of the stars, to which belongs much of
the earlier image carving, for the household gods of the ancient Hebrews,
the Teraphim (as the images of Laban stolen by Rachel), were probably in
the human form as representing planets, even in varying astronomical
aspects of the same planet. They are said to have been of metal. The
ancient Germans had similar household gods of wood, carved out of the root
of the mandragora plant, or alraun as they called it, from the
superstition kindred to that of the East, that the images would answer
questions (from _raunen_ to whisper in the ear). Examination of many
ancient Attic figurines appears to shew that they had a not unsimilar
origin, reminding us that both Herodotus and Plato state the original
religion of the Greeks to have been star-worship, and hence is derived the
[Greek: Theos] god, from [Greek: Thein] to run. Thus in other than the
poet's sense are the stars "elder scripture."
Public-domain text, read in full here on John Shaqi.
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