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
To dwell on the symbolism of Nature would lead us too far from our
point. But we must constantly bear in mind that Nature and the Church
answer to each other as implicit and explicit revelations of God.
Therefore, whatever system is seen to run through the one, in all
probability runs through the other. Now, that the teaching of Nature
is symbolical, none, we think, can deny. Shall we then wonder that the
Catholic Church is in all her art and splendour sacramental of the
Blessed Trinity, when Nature herself is so? Shall God have denied this
symbolism to the latter, while He has bestowed it on the former? Shall
there be a trinity of effect in every picture, a trinity of tone in
every note, a trinity of power in every mind, a trinity of essence in
every substance,--and shall not there be a trinity in the arrangements
and details of church art? It were strange if the servant could teach
what the mistress must be silent upon: that Natural Religion should be
endued with capabilities not granted to Revealed Truth.
{xlvii}
Is not, again, the doctrine of the Resurrection wonderfully set forth
by Nature? This symbolism is the more remarkable, in that to the
ancients the rising of the sun and the bursting forth of the leaf must
have appeared false symbolism, although they knew too well that of
which autumn and evening were typical. So, to quote only one other
example, the law of self-sacrifice is beautifully shadowed out by the
grain that 'unless it die, abideth alone; but if it die, bringeth
forth much fruit.' We may argue next from the analogy of all art.
Sculpture, perhaps, has least to offer in our support. But in painting
we may refer to the conventional colours appropriated to various
personages; and the mechanical symbolism of poetry is known to all.
Nor must we forget the conventional use of language. Archaisms,
studied inversions, quaint phrases, and the like, have always been
affected by those who were treating of high and holy subjects. None
has employed these with happier effect than Spenser, whose language,
it need not be said, never was and never could have been really used.
The solemnising effect of a judicious employment of this artifice is
nowhere more strongly felt than in works of Divinity. Compare for
example the English language, where the conventional Thou is always
addressed to the Deity, and where a stern simplicity runs through the
whole of our Divine Offices, with the French which can only employ
_Vous_ in prayer, and with the Portuguese, where, in the authorised
translation of the Holy Scriptures, Apostles, and Prophets--nay, our
Blessed Lord Himself, speak in the polite phrases of conversational
elegance. [Footnote 16]
Public-domain text, read in full here on John Shaqi.
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