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
While all this repression was going on, the Church was making itself
acceptable, just as the Mosaic system had done in its day, by assimilating
the symbols of the forbidden faiths. Itself instituted without formularies
or ceremonial, both were needed when it became a step-ladder of ambition
and the expedient displacer of the corrupt idolatries into which
sun-worship had disintegrated. Hence among the means of organization,
observance and symbol took the place of original simplicity, and it is
small wonder that ideas were adopted which were already in men's minds.
Elements of heathenism which, after the lapse of centuries, still clung to
the Church's robes, became an interwoven part of her dearest symbolism. If
men did not burn what they had adored, they in effect adored that which
they had burned.
In spite, however, of edicts and adoptions, paganism has never been
entirely rooted out; what Sismondi calls the "rights of long possession,
the sacredness of time-hallowed opinion, and the potency of habit," are
not yet entirely overcome in the midst of the most enlightened peoples.
The carvings which point back to forgotten myths have their parallels in
curious superstitions and odd customs which are not less venerable.
There were many compromises made on account of the ineradicable attachment
of the people to religious customs into which they were born. Christian
festivals were erected on the dates of heathen observances. In the sixth
century, Pope Gregory sent word to Augustine, then in England, that the
idolatrous temples of the English need not be destroyed, though the idols
should, and that the cattle sacrificed to the heathen deities should be
killed on the anniversary of dedication or on the nativities of the
saints whose relics were within the church.
It is said that it was, later, usual to bring a fat buck into St. Paul's,
London, with the hunters' horns blowing, in the midst of divine service,
for the cathedral was built on or near the site of a former temple of
Diana. This custom was made the condition of a feudal tenure. The story of
Prosperine, another form of Diana, was the subject of heathen plays, and
down to the sixteenth century the character appears in religious mystery
plays as the recipient of much abuse.
Public-domain text, read in full here on John Shaqi.
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