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
by way of contrast to the second Adam, by whom we enter into Heaven,
we sometimes, especially in Norman churches, have the Forbidden Tree,
with Adam and Eve in the tympanum: setting forth the one man by whom
sin entered into the world.
The Crucifixion seldom occurs over doors: while over porches a
crucifix is very common. The cause of the difference is explained by a
consideration that the former are shut, the latter open: and 'when
Thou hadst overcome the sharpness of Death, Thou didst _open_ the
kingdom of heaven to all believers.' Indeed it may almost be asserted
that a crucifix is never seen over a {c} closed door, except where it
forms a part of the usual representation of the Trinity. For the
Trinity is also, in Norman churches, there represented: and that not
inappropriately: inasmuch as the Trinity is the beginning of all
things. A Holy Lamb is sometimes found in Norman tympana: as saith the
Saviour, _I am the door of the sheep_. A hasty glance at Durandus
[Footnote 60] might lead us to imagine that we should find the
Apostles set forth under the similitude of doors: but he there
probably refers to the well-known passage in the Apocalypse. Apoc.
xxi, 14.
[Footnote 60: Durand. i, 26.]
This however leads us to another, and that a totally different,
meaning attached to doors. We have already noticed the fact, that many
Norman and Early English mouldings refer to various kinds of
martyrdom: those which do so occur more frequently on doors than
anywhere else; for it is written, 'We must through much tribulation
enter into the kingdom of God.' And here we may observe a very curious
and beautiful progression in symbolism. In the early ages of
Christianity, it was a matter requiring no small courage to make an
open profession of Christianity, to join one's self to the Church
Militant:--and this fact has left its impress in the various
representations of martyrdom surrounding the nave-doors of Norman and
the first stage of Early English churches: as well as in the frightful
forms which seem to deter those who would enter. But in process of
time, as the world became evangelised, to be a member of the visible
Church was an easy matter: the difficulty was transferred from an
entrance into _that_, to the so living, as to have part in the
Communion of Saints:--in other words, to an entrance into the Church
Triumphant. And therefore in late Early English, and Decorated, the
symbols which had occupied the nave-doors in the former period, are
now transferred to the chancel arch.
{ci}
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