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
We enter. The triple breadth of nave and aisles, the triple height of
pier arch, triforium, and clerestory, the triple length of choir,
transepts, and nave, again set forth the Holy Trinity. And what
besides is there that does not tell of our Blessed Saviour? that does
not point out 'Him first' in the two-fold western door: 'Him last' in
the distant altar: 'Him midst' in the great rood: 'Him without end' in
the monogram carved on boss and corbal, in the Holy Lamb, in the Lion
of the tribe of Judah, in the Mystic Fish? Close by us is the font;
{cxxxi} for by regeneration we enter the Church: it is deep and
capacious; for we are buried in baptism with Christ: it is of stone;
for He is the Rock: and its spiry cover teaches us, if we be indeed
risen from its waters with Him, to seek those things that are above.
Before us, in long drawn vista, are the massy piers, which are the
Apostles and Prophets: they are each of many members, for many are the
graces in every saint: there is delicate foliage round the head of
all; for all were plentiful in good works. Beneath our feet are the
badges of worldly pomp and glory, the charges of kings and nobles and
knights: all in the presence of God as dross and worthlessness. Over
us swells the vast 'valley' of the high-pitched roof: from the
crossing and interlacing of its curious rafters hang fadeless flowers
and fruits which are not of earth: from its hammer-beams project
wreaths and stars, such as adorn heavenly beings: in its centre stands
the Lamb as it had been slain: from around Him the Celestial Host,
cherubim and seraphim, thrones, principalities, and powers, look down
peacefully on the worshippers below. Harpers there are among them
harping with their harps: for one is the song of the Church in earth
and in heaven. Through the walls wind the narrow cloister galleries:
emblems of the path by which holy hermits and anchorites, whose
conflicts were known only to their God, have reached their home. And
we are compassed about with a mighty cloud of witnesses: the rich deep
glass of the windows teems with saintly forms, each in its own fair
niche, all invested with the same holy repose: there is the glorious
company of the apostles: the goodly fellowship of the prophets: the
noble army of martyrs: the shining band of the confessors: the
jubilant chorus of the virgins: there are kings who have long since
changed an earthly for an heavenly crown: and bishops who have given
in a glad account to the Shepherd and Bishop of souls. {cxxxii} But on
none of these things do we rest; piers, arch behind arch, windows,
light behind light, arcades, shaft behind shaft, the roof, bay behind
bay, the saints around us, the heavenly hierarchy above with dignity
of pre-eminence still increasing eastward, each and all, lead on eye
and soul and thought to the image of the crucified Saviour as
displayed in the great east window. Gazing steadfastly on that, we
pass up the nave, that is through the Church Militant, till we reach
Public-domain text, read in full here on John Shaqi.
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