The Symbolism of Churches and Church Ornaments: A Translation of the First Book of the Rationale Divinorum OfficiorumDurand, Guillaume
Religion
The Symbolism of Churches and Church Ornaments: A Translation of the First Book of the Rationale Divinorum Officiorum
Durand, Guillaume
Christian art and symbolism; Church architecture
should choose the glorious architecture of the fourteenth century;
and, just as no man has more than one hand-writing, so in this one
language alone will he express his architectural ideas.
We cannot leave this topic without referring to what the Cambridge
Camden Society has said with respect to architectural competition.
[Footnote 6] _It is a fact_ that at this time many competing designs
are manufactured in an architect's office, by some of his clerks, as
if by machinery: if a given plan is chosen, the architect is summoned,
and sees _his_ (!) design for the first time, when he is introduced to
the smiling committee-men. It is another fact that there is at this
time in London a small body of persons, with no other qualification
than that of having been draughtsmen in an architect's office, who
_get up_ a set of competing designs for any aspirant who chooses to
give them a few instructions, and to pay them for their trouble. How
much it is to be wished that there were some examination of an
architect's qualifications, before he should be allowed to assume the
name! It seems strange that the more able members of the profession do
not themselves feel some _esprit de corps_, and do not at {xxvi} least
endeavour to claim for their art its full dignity and importance. We
fear however that very few, as yet, take that _religions_ view of
their profession, which we have shown to be seemly, even if not
essential. If, however, we succeed in proving that religion enters
very largely into the principles of church architecture, a religious
_ethos_, we repeat, is _essential_ to a church architect. At all
events, in an investigation into the differences between ancient and
modern church architecture, the contrast between the ancient and
modern builders could not be overlooked: and it is not too much to
hope that some, at least, may be struck by the fact, that the deeply
religious habits of the builders of old, the hours, the cloister, the
discipline, the obedience, resulted in their matchless works; while
the worldliness, vanity, dissipation, and patronage of our own
architects issue in unvarying and hopeless failure.
[Footnote 6: See _Ecclesiologist_, vol. i, pp. 69, 85.]
We said that there were philosophical reasons for the belief that we
must have architects--before we can have buildings--like those of old.
If it be true that an esoteric signification, or, as we shall call it,
_Sacramentality_, [Footnote 7] ran through all the arrangements and
details of Christian architecture, emblematical of Christian
discipline, and suggested by Christian devotion; then must the
discipline have been practised, and the devotion felt, before a
Christian temple can be reared. That this esoteric meaning, or
symbolism, does exist, we are now to endeavour to prove.
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