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PLATE

Handbook
OF

Christian Symbolism.
BY

W. & G.

AUDSLEY,

ARCHITECTS,
AutJiors of Several

WITH ILLUSTRATIONS

IN

Works on Art.

CHROMO-LITHOGRAPHY AND WOOD-ENGRAVING.

LONDON:
DAY &
GATE STREET,

SON, LIMITED,
L I N C O LN'S-I N N

FIELDS.

TO

HENRY DUCKWORTH,

Esq.

OF LIVERPOOL,

PATRON AND LOVER OF CHRISTIAN AR T,

THIS

WORK

IS

DEDICA TED,

WITH EVERY FEELING OF ESTEEM AND APPRECIATION,


KY

MIS OBEDIENT SERVANTS,

THE AUTHORS.

PREFACE.

C^S^f^H

1%

^y^

^
m
M

writing and publishing this

little

Hand-

book we have been actuated by a desire


to supply, in

some

which has been much


dents of Christian

We

trust that

want

slight degree, a
felt

by the

stu-

art.
it

be understood,

will

however, that we have not had any idea of rivalling the

many

works on the subject which have been

learned

published

both

in

this

country and in

France,

from

which we have received much valued information, and to

which we must

refer those

who wish

to

go deeply

into

the study of Christian Symbolism.

Our
to

its

little

many

Work

is

before us, and

imperfections

we

are not blind

and shortcomings, the


d

latter

Preface.

viii

being partly due to the necessarily condensed nature of


the

In the hope that the will

work.

may be

for the deed,

we recommend our Handbook

leniency of

readers.

It

its

accepted

to the kind

has been written with a desire to aid the great

movement which
Christian

art;

is

and

now being made


if

it

assists

that

in

all

revival

branches of
only in a

small degree, our labours, begun in love, will be crowned

with what will appear to us the greatest success.

W. &

Liverpool,
Feast of

St.

James, 1865.

G. A.

CONTENTS.
Page

Introduction

CHAPTER
The
The
The
The

I.

Nimbus, Aureole, and Glory

Nimbus

of

God

i8

Aureole and Glory

Nimbus

of Angels and Saints

22

CHAPTER

II.

The Symbols and Emblems of God


The Symbol of God the Father
Symbols and Emblems of God the Son

31

Symbols of God the Holy Ghost

44

Symbols and Emblems of the Trinity

50
III.

61

of the Cross

65

Symbolism of the Cross

Monograms

27

...

CHAPTER
The Cross
The Varieties

27

of the Saviour's

71

Name

77

Contents,

CHAPTER
Emblems
Emblems of the Passion
Emblems of the Resurrection
The Emblem of the Ascension

IV.

of the Passion, Resurrection, and Ascension

...

Page

...

...

...

...

...

83

...

...

...

...

...

...

87

...

...

...

...

...

89

...

...

...

...

91

CHAPTER

V.

Symbols of Baptism and the Eucharist

CHAPTER

VI.

Symbols and Emblems of the Evangelists and the Apostles

CHAPTER
Emblems and

Attributes of the Saints

..

CHAPTER
Miscellaneous Symbols and

Colours

...

83

...

Emblems

95

VII.
...

...

...

...121

VIII.

...

...

...

...

...

134

...

...

...

...

...

134

...

...

...

...

...

...

137

...

...

..

...

...

...

141

...

...

...

Precious Stones

...

...

Miscellaneous

...

...

IN TROD UCTION.

K^^^

I^^L^

^
iM

Is

day

somewhat surprising

one

on

hourly

0^

that

of

such
so

will

may

find

strivings

little

In their

power

to

add

to

gradually

Is

this

trust the

those

all

the

of

Christian

and we

be encouraged and promoted by


It

of

a wish to learn something regarding


;

after

known

is

however, that there

great handmaid of early Christian Art

wish

one which

art,

subject

interesting

We observe,

springing up

witnesses

knowledge
the

Symbolism,

branches

present

and learned

enlightened

so

most

at the

who

Information

already collected.

We
known

feel confident that

to

be

the subject only requires to be

fully appreciated

and, aided

of Ecclesiastical Architecture and


B

Its

by the revival

attendant

arts,

with

Symbolism.

Christian

which

has ever been connected,

it

the favour

it

may

it

again receive

experienced through a period of more than

a thousand years.

The
now

revived arts of stained glass and church decoration,

Hberally supported, have done much, and will yet do

and obtain

more, to popularize Christian Symbolism,


it

consideration and respect.

A
those

knowledge of Symbolism

who study

Ages,

handed down

containing sacred

some way introduced

exercise

is

highly requisite

the works of Christian Art

scarcely a picture

in

for

to us

figures,
;

for there

case,

symbols are

that

matter of great

difficulty

interpret

to

intention of the artist without a

it

Such

becomes a

the meaning or

knowledge of the characters

of the language in which he has expressed his

When

only a single figure

of discovering

much

increased

information
peculiar
initiated,

is

for
;

for

it

is

the

represented, the
artist

ideas.

difficulty

has intended

it

is

generally happens that no further

vouchsafed beyond that supplied by some

symbol,
is

whom

not

and, as a rule, these symbols

must be obvious that

it

is

from the Middle

no mean influence on the composition.

being the

for

emblem,

or

attribute,

which,

to

as plain as a written description would

and, indeed, often

more expressive and

to the point.

the
be,

Introduction.

The same

knowledge of

Christian

requisite for those

who

ture, stained glass,

and other decorative

all,

it

is

Symbolism

is

study ancient illuminations, sculparts; and,

absolutely necessary for the architect

above

and student

of Mediaeval Architecture to have a thorough acquaintance

with the art which guided

its

early masters in their labours

of love.

The
him

into

in his works, for

his

which
to its

will

designs,

will

if

tend to

meaning.

enable him to introduce

will

it

they be of a sacred character,


illustrate his subject

We

may

must be made of symbols


to

art of illuminating

knowledge of Symbolism the greatest assistance

find a

to

practical student of the

and give

that
force

here remark that a studied use


;

that

it

is

at all times better

one with propriety than half a dozen for

introduce

the sake of ornament.

To

the practical artist in


decoration

ecclesiastical

Symbolism
paid to

it,

is

we

of

all

all

branches of church

or

an acquaintance with Christian

Were more

importance.

attention

should see an improvement in our stained

glass windows, the illuminated or painted decorations,

the furniture of our churches

and,

hint to our architectural brethren),

and architectural

features.

in

we may
their

and

say (as a

arrangement

Christia7i

But we believe

all

Syinbolis7n.

this will

be remedied

in

time

few careful and diligent labourers are required in


field

doubtless they are but waiting for the

morn

break,

and the clouds of ignorance and bigotry to

away,

to

commence

with cheerfulness.

their labours

and carry them

the
to
roll

on

CHAPTER
The

Nimbus,

I.

Aureole,

confusion

of

minds of many concerning

the

proper meaning

of

the

and appHcation

Nimbus, and

compound

and

Glory.

amount

CONSIDERABLE
exists in the

and

extended

its

the

forms,

Aureole

and Glory.

Such being the


chapter,

to

case,

explain

we

shall

endeavour, in the present

and

carefully

clearly all

matters in

connexion with these three grand attributes which have

been universally adopted by the early Christian


throughout

all

departments of

their works,

or express divinity or deification

more or

to

artists,

represent

less perfect.

Neither the nimbus nor the aureole can properly be

termed

symbols,

for

they

express nothing

when used

alone.
in

Symbolism.

Christimi

They

are in every case attributes, whether used

connexion with figures or portraitures, or appHed to

symbols to signify the divinity of the personage

Yet a knowledge of the powers and

every

used in art

nimbi

various

one

who

desires

Christian symbolism

made

are sure to be

become

to

for without

in

signification of the

absolutely

is

it,

set forth.

necessary for

conversant

with

numerous mistakes

the study of ancient art-works

or in the production of modern.

We

do not overrate the importance of the nimbus

Christian
all

art, for

we

find

countries, in painting,

it

universally used

sculpture,

a peculiar seal or proof of holiness.


a sovereign or

the rank of him

and stained

As

artists

of

glass, as

a crown denotes

head, so does the nimbus distinguish

titled

a divinity or holy person by


tell

by

in

its

presence.

who wears

As

a herald can

a crown by the shape and

arrangement of the diadem, so can the archaeologist

tell

the elevation or divine degree of the personage invested

with a nimbus by

its

shape and ornamentation.

Like the crown, the nimbus encircles the head, although


in

the

a different manner.

nimbus

head.

This

is
is

placed

The crown
like

a disc

lies horizontally,

or

while

plate behind the

the rule observed in the application

the attribute up to about the fifteenth century

of

during the

Nimbus,

The

and

Aureole,

Glory.

following two centuries a simple unadorned circlet or ring

takes the place of the disc, and

nimbus disappears

head

altogether.

have spoken of the nimbus as

we

only, but

show

shall

exclusively confined to that

we

observe

it

When
in

is

quite uncertain

As

French's remarks on
valuable paper on

light

first
it

has had

"

The sun

which uineducated

the

men

introduced in art
origin

its

all

of

is

humanity has

climes, looked

all

in

upon with the

Before the glorious rays

apparent material source of

life

willingly bent themselves in adora-

and even when reason and education had somewhat

influenced

them with a knowledge of a

by which the sun


* "

body when

better than quote Mr. Gilbert

reverence.

and heat

and vegetation
tion

although never do

regards the probable origin of

nimbus.*

every age, and in almost

its

was not

the subject in his interesting and

the

natural objects that

of

was

but beyond doubt

we cannot do

awe and

it

depicted.

remote antiquity.

greatest

applied to the

hereafter that

member

or where the nimbus

the attribute,

if

applied to another part of the

the whole figure

is

represented as hovering

In and after the seventeenth century the

over the head.

We

is

itself

was created and

Notes on the Nimbus," by G.

J.

French.

spiritual

power,

controlled,

many

Printed for presentation.

Symbolism.

Christian

continued to

Rays

sacrifice

ofifer

of

or of

fire

the

as

sign

visible

whom, through

of the unseen God, to

emblem

"

luminary

retained that

nations

it,

or

they

and worship.
thus

light

emblems of divine power; the


were clothed or armed with

pagan

statues of

fiery

became

naturally

emanations

deities

Jupiter

bore the lightning, Apollo was crowned with sunbeams,

and Diana wore the crescent moon as a diadem

numerous persons of both sexes are fabled

to

while

have been

translated to the sky, there to sparkle for ever as starry

Eastern paganism invests

constellations.

to the present day,

its

with similar attributes.

of gods of Japan and

Burmah

idols,

The heads

are surrounded

by rays

corresponding with those of the classical Apollo.

worn

crowns

even

The

by ancient Eastern potentates were but

materialized glories

the

divine

emanations

copied in

burnished gold.
"

The Jews

7'epresent

nimbus,

their

always

and

Moslems,

attribute

ornament
their

deities,

and

prophets

to

though

lawgivers

them

The Chinese
but

also

philosopher Confucius,

their

with

Christian saints and martyrs."

they

this

do

with

not
the

distinguishing

represent not only

great

lawgiver

and

nimbi similar to those on

Nimbus

The

The

pagan

Christians, deriving their first ideas from

adopted

art,

God.

of

nimbus

the

at a

We

very early period.

are led to believe that examples of this attribute have

been found

in the

From

back as the fourth century.


seventeenth

century

branches of Christian

"HE

angels,

men

all

evangelists,

used

in

all

of

Godhead

the

saints,

indi-

from those

differing

other personages,

apostles,

are

archangels,

viz.,

and

martyrs,

living

of recognized sanctity.

The nimbus
portraitures

or

of

God

symbols,

the Father, whether applied to


is

usually

having three bars or rays upon


its

was

God.

of

by nimbi

vidualized in art

which distinguish

far

art.

Persons

three

as

that time until the

nimbus

the

Ninths

The
"

Rome, dating

catacombs of

and extending

centre

These
examples

rays
;

vary

sometimes

its

a
field

circular

disc,

issuing

from

to its circumference.

considerably in

they

are

size

simple

in

different

unornamented

Sytnbolism.

Christia7i

(Fig.

lines

Plate

i,

while

II.),

at

others

they are so

broad as to occupy a half or third of the whole surface.


richly decorated with

the latter case they are

In

orna-

mental designs or precious stones.

The Greek

the Deity with three

and nu

(N), which,

or the Being (Fig.

letters,

As

2).

12N, signify "

we have

the

is

Mount Athos by M. Didron, and


:*

"On

am,"

not the same on

following

the " Guide de la Peinture," a Greek

Durand

(H),

regards the position of the

three letters on the nimbus (which


ancient examples),

omega

omicron (O),

united thus

nimbus of

the

inscribed

usually

artists

directions in

MS. purchased
by M.

translated

at
P.

the cross intersecting the crown (nimbus)

of each of the three persons of the Trinity, the Father,

and

Son,

inscribed,

Holy
6

was pleased
bush

'

letters

right

lyoi

Ghost,
for

av,

it

let

wv,'

be thus arranged

'

am

Moses
that

the upper part, and the nu


Latins,

in

(v)

Let

am.'

(0)

omega

the

on the

that

be

God

the burning

place the omicron

hand branch of the nimbus,

The

letters

by these words

is

to reveal himself to
slfxi

following

the

the

on the
(w)

on

left."

imitating this idea, sometimes

Didron's " Christian Iconography," vol.

i.

p. 45.

inscribed

plate:

II

Nimbus

The

nimbus of God with the word "rex," placing

the

on each

letter

God

which the nimbus of

several other forms

the Father assumes, although none of

commonly met with


In

the form

of an

formed of two

and

nu

find

the nimbus

and sometimes

triangle,

one placed the reverse way behind

some

In

inscribed.

divergent

of

circle

we

omega,

the front triangle the omicron,

usually

are

art

equilateral

triangles,

On

the other.

them are so

as the rayed disc.

and Greek

Italian

late

Greek examples.

as in the

ray,

There are

in

God.

of

surrounds

rays

examples a

the

triangular

find

a lozenge-

nimbus.

At

shaped nimbus
It

is

came

difficult

to

reason
the

the

triangle

Trinity,

to

is

God

is

shape

this

Son

its

being

disc

symbols

of

the

and
the

is

generally a circular disc

field, in

every way similar to

the Father.

In the earliest

Saviour

why

sides.

presence.

Its

the

with the three rays upon


that of

or

the three-rayed

both

obvious,

God

or straight

portraitures of the Father

to

adoption of

of

how

understand

and indicative of

The nimbus

concave

with

either

be applied

for

we

although very rarely,

times,

ages

repeatedly

of

the Church,

represented with

however,

a plain

our

circular

Symbolism.

Christian

12

His symbol,

and

nimbus,

devoid of

rays,

inscribed on

omega

the

monogram

but having a

accompanied

it,

Lamb, with a

with

the

nimbus

of His

name

alpha (A) and

(12).

During the middle ages Christ was never intentionally


depicted with a plain nimbus

the few examples which do

We

exist are clearly mistakes.

are not aware that there

any examples showing our Saviour invested either

are

In Greek

with a triangular or lozenge-shaped nimbus.


omicron,

the

art

and nu are inscribed on the

omega,

rays of the nimbus of

God

the

Son

in the

same manner

as on that of the Father.


It

is

of writers on

opinion

general

the

Christian

iconography and symbolism that the three rays or bars

on the nimbus of the Deity are a portion of a Greek


cross,

by

and the remaining portion, or lower limb,

the

head,

and

they

it

were

without

Mr.

G.

J.

satisfied

"

cruciform nimbus."

questioning

brought

the

its

firmly convinced that his opinion

bars on

propriety,

subject

Since then, having studied the subject,

that the

in

with their conclusion, and accepted

particularly

French

hidden

have joined one another

terming the divine attribute a

We

is

is

the nimbus have

before

until
us.

we have become

the right one,

viz.,

no connexion what-

Nimbus

The

God.

of

13

ever with a cross, but are intended to symbolize or set

Holy

forth the
It

may

Trinity.

not be out of place here, nor uninteresting to

our readers,

if

we

say a few words on this subject, and

quote a few passages from Mr.


"

unpublished

However

Notes on the Nimbus."


it

may appear on

investigation,

it

certainly

be a matter of surprise that the bars on

cannot

attribute of the

French's unfortunately

cross,

the

Deity should be supposed to represent

was covered by the

the lower limb of which

head, particularly as the figures of Christ, most prevalent


in

the works of

this peculiar

attribute confined to the

would be

tions of our Saviour, there


it

art,

are almost

found invested with nimbi displaying them.

universally

Were

the ages of Christian

all

being cruciform

but such

is

little

representa-

occasion to doubt

not the case,

we

the persons of the Trinity alike invested with

why

question then arises,


Spirit bear the cross

departments of art

and matters

is

relating

should the

find all

The

it.

Father and Holy

a symbol which throughout

all

the

peculiarly confined to our Saviour


to

Him }

And

in

consequence of

the unanswerable nature of the question, the following

suggestion demands
(for there

attention

may

not the three bars

are never fotir) on the nimbus allude to the

Symbolism.

Christian

14

If so, Father, Son,

Holy Trinity?

and

have alike

Spirit

members of the great and unap-

a right to them as

proachable Three in One.

"We

Mr. French remarks,


diffidence, to

venture, though with

hazard the opinion, that with occasional, but

very rare exceptions, the mediaeval Christian

nimbus of the Deity, did

the

painting
represent,

or at

was

purpose

some

refer

all

the

to

demonstrate,

to

artist

intend

to

but

that

his

rays

of

not

cross

by three

when

light

proceeding from the divine head, that the one person


represented was invested with the power, and the glory,
as the

as well

the

Holy
"

appropriate as an

Saviour of

the

emblem

world,

who

upon

and

meaning with reference

significant

Holy

propriate

as

it,

Spirit: to

to

the

of the
for

them

it

to the

Buddhist and

that which the Christian artist

Holy

Trinity,

men's

sins

Father and

would be quite as inap-

Hindoo

whose heads are invested with an ornament

of the

Son of

the cross has not the same apt

suffered death

to the

forming

persons

of the other

Trinity.

However

God, the

identity,

divinities,

similar

to

placed upon the persons

when represented together under

the semblance of humanity."

M, Didron, although he

universally

applies the term

TJie

Nimbus

God.

of

15

cruciform to the divine nimbus, appears nowise clear as

on the subject being the right one.

In

work on "Christian Iconography," he

says,

to his opinion

his valuable

"It seems doubtful whether


intended to decorate the
with a cross

of the

field

Nimbus

God,

of

form of the ornament which

possibly, the

can actually have been

it

marks the nimbus of divine persons,

is

not borrowed,

as one might be led to believe, from the

instrument of

our Saviour's suffering.


"

The

Redeemer being represented

propriety of the

with a nimbus thus decorated,

why

should

Spirit

as

is

if

halo

Hindoo

encircling
divinities, is

cannot be supposed
is

but

they wore the badge and insignia

of the Son, which would not be very consistent.

the

be worn also by the Father and the Holy

it

It

.-*

obvious

sufficiently

is

the heads of several

marked with a
that,

Besides,

Buddhist and

similar cross

in these instances,

and

it

any allusion

designed to the Cross of Calvary."

There

is

a stronger proof, however, than mere sup-

position, that the rays


cross,

namely,

that

represented even

in

on the nimbus do not belong to a

the

fourth

instances

desired to display a cross,

shown.

We

it

can observe in

or lower

where,

if

limb
the

is

not

artist

had

could have been distinctly

many examples

that great

Symbolism.

Christian

show the

pains have been taken to

was a somewhat

matter to do

difficult

presence on the

Had

to

is

field

it

from the position

so,

of the nimbus.

like

in

when

sufficient to indicate its

be seen, yet

a fourth ray been desired,

been indicated

rays

Sometimes, merely a small corner

of the head and body.


of the third ray

three

could at times have

it

manner; but

every case

in

on the part of the

absent, clearly from intention

is

it

artist,

and not from neglect or mistake.


Mr. French remarks,

nimbus of the Saviour

M. Didron

authority.

from the
1

stalls in

"

very

is

ray in the

fourth limb or

and of doubtful

rare,

one example,* taken

figures only

the Cathedral of Amiens, erected in the

6th century, at which time the spirit of Christian sym-

bolism had greatly degenerated from


simplicity,!

The Saviour

behind,

a position very unusual,

nimbus,

if

* " Christian Iconography,"

No

p.

is

importance can be attributed to

nimbi.

From

placed capways

nimbus.W.

&

G. A.

this fact

not unique,

and the

placed upon the head like

is

its

figures of the persons of the Trinity are

article

if

102.

looked upon as one, for not only

without

and

early purity

represented as seen from

is

such be intended,

its

we

are

this

example,

date far too

if it

late,

may be

but other

found carved on the same


inclined

on our Saviour's head

is

to

believe

stalls

that

not intended

the

for

Nimbus

The

a cap, the top of which


or

embroidered

fanciful

some degree

In

may be

but which

cross,

17

ornamented with a braided

Is

device,

God.

of

easily mistaken

resembling a

merely

for

arrangement of pattern.

"In representations of the Veronica there


tunity of displaying a fourth limb,
to Indicate

an oppor-

Is

and every Inducement

a cross, were such Intended

but three rays

only are found In the examples of this subject."

As

our space

very limited,

is

few remarks, close

this part of

advise those of our readers

on the subject

examine

to

wrong

are right or

investigated the

in

more

But as we are

it

our topic

dispensing with

ciform,"

and

" tri-radiated,"

for

but

we would

desire to be fully satisfied

Whether we

for themselves.
It,

more

the

It

Is

truth will be developed.

convinced that the rays on the

and not the

to express the Trinity,

instrument of our Lord's suffering,


for

must, with the above

our opinion of

fully

nimbus are Intended

who

we

we must be pardoned

the commonly-accepted

substituting

in

Its

place

term

" cru-

the

term

throughout our essay.

The nimbus

of

God

the

Holy Ghost

differs

in

no

important point from those of the other persons of the


Trinity.

form,

He

When
is

the

Holy

Spirit

Is

represented in

usually Invested with the tri-radiated

human

nimbus

Symbolism.

Christian

we have never met

but

with an example

having the

Greek or Latin

rays inscribed with the three

letters so

frequently seen in the nimbi of the Father and the Son.

The symbol

of the

Holy

Spirit

is

generally invested

with a circular tri-radiated nimbus, but sometimes with

a plain triangular one.

It

is

not unusual

to

find

the

symbol represented without a nimbus.

The

T])

EFORE

^^

treating

saints, it

is

and

Aureole

nimbus

the

of

advisable that

Aureole and Glory, because

in

Glory,

we

art

of

angels

and

should describe the


they are particularly

connected with the representations of the three

Persons

of the Godhead.

We

observed

before

some

that

confusion

exists

regarding the proper signification of the above terms


so

much

that

so,

"glory" used
"

aureole"

The

is

to

it

is

not

express

uncommon
the

nimbus,

very seldom used at

aureole

is

to hear the

while

the

word
word

all.

a most important attribute in Christian

The
art
is

it

in fact,

is,

not used

and

Aureole

Glory.

19

an extended form of the nimbus, but

instead

of

The nimbus

it.

the

encircles

head or other portion of the body; the aureole encircles


the whole body, and envelopes

it

in

field

of radiance

and splendour.

The form
common

of the aureole

that

is

shown

is

very varied, but the most

in the centre of Plate II.

Sometimes the aureole takes the form of the body


and

clings closely to

at others,

it

and form

is

appearing as a fringe of light;

it,

removed from

in this case

it

is

it

both as regards distance

composed of many luminous

rays issuing from a centre.

Besides the form shown on Plate

commonly met with of a


oval

circular

II.,

shape.

the aureole

The

is

pointed

usually applied to standing or full-length figures,

is

the circular to sitting

although there

ones,

are

many

exceptions to this general rule.

As

the application of the attribute,

to

as near as

The

is

we

necessary the concise words of

will

give

M. Didron.

aureole cannot be said to belong exclusively to God,

although
divinity.

it

It

is
is,

an

attribute

in fact, the

especially

characteristic

of

symbolic token of supreme

power, of energy, exalted to the highest possible degree.


It

ought, therefore, to be given before

all

to

God, who

Christian

20

in

Himself

Symbolism.

properly and

is

Omnipotence, while His creatures, however

and degree, hold

it

only from

Him

centre

the

Intrinsically

lofty their

like the

of

rank

moon, which

shines but with the borrowed radiance of the sun.

The
Power

aureole

is

so completely the attribute of

Supreme

or Divine Omnipotence, that the angels themselves,

which of

all

God's creatures seem most nearly

the Creator, are not invested with this

mark

allied to

of dignity.

In some cases, of which the miniatures of illuminated

MSS.

offer

numerous

examples,

the angels

are

com-

prehended within the aureole of God, when they attend

Him

either

at the Creation,

on Mount

Sinai,

or at the

Last Judgment; but the aureole does not properly belong


to

as

them
if

it

is

the attribute of

One

the angels seem

His glorious person.

curious and remarkable coincidence may, however,

be noticed

in a painted

In this window, which

Is

window

in

Chartres

Cathedral.

the work of the twelfth century,

a painting of the celestial hierarchy, or the distribution

of the
is

absorbed in the resplendent luminous atmosphere

radiating from

is

God and

angels

characterized

represented

into nine choirs.

by a peculiar

Each
attribute.

choir

The

of angels

Thrones,

by two great angels with green wings and

sceptres in their hands,

and enclosed

in

a crimson aureole

The

of elliptical form, are the

badge; the

this

first

The Thrones

groups.

three

and

Atireole

angels,

the depositories of

as

Glory.

21

and most elevated of the


alone are honoured

their

names

Almighty power.

with
are

indicate,

This

fact

affords

confirmation of the assertion that the aureole

further

God

the peculiar attribute of

His authority

is

for the Deity, in delegating

Thrones, delegates to them at the same

to

time a portion of His majesty and glory.

The
of

aureole

duction,

not so frequently met with in works

the nimbus

as

art

is

and

fell

it

was evidently a

disuse long before

into

later intro-

the

nimbus

disappeared.

The term "glory"

is

employed

bination of the nimbus and the aureole

represented

with

the

express the com-

to

that

nimbus investing

the aureole surrounding his body

is

is,

head and

his

said to

a person

be

glorified

or in glory.

In
forth

language of art the glory expresses or sets

the

most

the

deification

and sublime

attribute of

of Heaven.

exalted

and

unapproachable

perfection.

It

is,

state

therefore,

of

the

God, as the Great Judge and as the Majesty

Christian

The

Nimbus

Symbolism.

of Angels

and

Saints.

A NGELS are universally invested with circular nimbi.


^ ^ Generally speaking their fields are plain sometimes,
;

however, they have rich borders of ornament and jewelled

work

(Fig. 4, Plate II.),

fields

covered with a multitude of divergent rays.

and sometimes they have

their

Angels

are never represented with the tri-radiated nimbus, unless

they are personifications of God, and represent

some

direct

manner.

noble,

but

characterize

of heraldic

an indefinite number of
not

birth,

while

least

during

at

fleurs-de-lis

fleurs-de-lis indicate

royal

royalty

in

Didron very justly says that the rays

on the nimbus are somewhat similar to the


in heraldry

Him

three

fleurs-de-lis

certain

period

art.

So, also, the

nimbus of three rays indicates divinity;

a greater number of rays are attributes of created beings,

and more

especially

of

angels,

the most noble of

all

creatures.

Thus, then, no angel ever wears the tri-radiated nimbus,

Nimbus

The
unless, as

of Angels

aitd

Saints.

amongst the Greeks, that angel

is

23

a personifi-

cation of the Deity.

In Greece, Christ
Will,

and

He

is

is

called the

Angel of the Great

often represented,

apse of the

left aisle,

winged and

beardless.

the back

at

of the

under the form of a great angel,

This divine angel,

this

messenger

of God, an admirable creation of the Greek mind, wears


divine nimbus.

the

In the scene in which

Abraham,

seeing three angels, prostrates himself in adoration at the


feet

of one,

the angel

whom

he adores

is

frequently-

invested with a tri-radiated nimbus to signify his being


the

The form

representative of Deity.*

rayed nimbus, worn by angels,

The nimbus

is

of the Virgin

shown

Mary

in fig. 5.

is

always

and generally very elaborately ornamented.


a

rule,

as

the nimbus of the Virgin

the nimbus of God, and

is

is

many-

of the

circular,

Indeed,

as

as richly decorated

only different from

it

in

not being tri-radiated.

The Holy

Apostles were at an early date represented

with the nimbus

This we

find to

executed in the

and

St.

in fact, as early as our

be the case from a fresco


first

Lord Himself.

in the

Catacombs,

ages of the Church, where St. Peter

Paul are invested with plain nimbi,

similar

* Slightly altered from the passage in Didron, p. 66,

to

Symbolism.

Christian

24

that

worn by

who

Christ,

is

depicted

sitting

between

them.

The nimbi worn by


generally

circular,

Apostles are in

the

or with

plain,

a simple

The

sometimes richly ornamented.


enrichment bestowed on the

in

of Greece and Italy

than

decoration

its

is

nimbus

the

but

and amount of

style

according to the age and country in which

The nimbus

border,

nimbus vary

of the

field

cases

all

it

was executed.

more elaborate

far

our

of

northern

countries.

The Greek

artists

were not

with

satisfied

painted

ornaments on their fresco works, but wrought the plaster


while

damp

into

a sort of relievo,

which they

richly

painted and gilded.

Nimbi

executed

in

gold,

generally very carefully and

pearls

beautifully

and repousse work, and are

colours

and precious stones.

of stained

glass

was usual

at

are

often

a certain

and

silver,

Nimbi

are

elaborated with

also

as

enamel

adorned with

shown

in

works

very rich in ornament.

period to inscribe

It

around the

borders of the nimbi of saints the names of the persons

whose heads they adorned.


to

have been introduced

century.

(Fig. 6.)

This useful practice appears


at

the end of the thirteenth

Nimbus

The
It

now

to

is

in

be regretted that

works of stained

persons

assist

Saints.

this practice is not

as

glass,

reading

in

and

Aiigels

of

the

25

adopted

would materially

it

when

intention,

artist's

examining any single figure or subject depicted.


All

the

numerous

saints,

virgins held in veneration

middle ages

have the

martyrs,

confessors,

and

by the Christian Church of the


nimbus

circular

more or

less

ornamented.

There

is

mention ere
it

is

one other form of the nimbus that

we

one which

we must

close this part of our subject, although


will

not

come

into use

in

the

present

day.

Men who had

attained a considerable degree of sanctity,

and were universally recognized as holy and blameless


in

their

lives

and

actions,

were

honoured

while

still

living with nimbi.

The nimbus

of a living person

is

quite different

form from any bestowed on the Deity, angels, or

in

saints,

being square in shape, and placed upright behind the


head, with

its

lower edge horizontal or parallel with the

shoulders.

The

square has always been looked upon as inferior

to the circle,

and hence was employed to symbolize the

Christian

26

while

earth,

the

circle

Symbolism.

expressed

heaven

peculiar

to Italian

or

eternal

existence.

The

square nimbus

is

art,

being

found in frescoes, mosaics, illuminations, enamels, carvings,


&c.

artists

it

is

never found in the works of the Greeks or

north of the Alps.

CHAPTER
The

AVING,
with

God

the

Spirit,

God

URING
era,

explained

trust,

matters

nimbus,

the

its

in

clearly-

connection

of
:

are

necessity,

under

God

the

Symbol
the

first

of

Son,

and God the

God

the

eight centuries

and throughout

symbols

to

First,

and

head we include those of

this

the

and

extended

we now come

forms,

also those of the Trinity or

The

we

as

God.

speak of symbols and emblems.

Father,

and

of

compound

j
of

Emblems

Important

all

m
emblems

and

Symbols

II.

all

Holy

Godhead.

Father.
of the Christian

departments of

art,

God

Symbolism.

Christian

28

the Father was represented, or His

by a

symbol

single

shown

from a mass of clouds, the clouds of

issuing

as

symbol was a hand, usually

that

presence indicated,

heaven, which were closed around the arm to hide the

and

awful

behold and

The
"

origin of this

Arm

"

man

could

We find

in the

no

live."

symbol

of

Lord,"

the

is

obvious.

made

Scriptures repeated mention

the

which

Majesty,

glorious

His

instruments of

the

as

"Hand" and

of the

Almighty Power and Will.*

The hand

continued to be adopted by artists until

about the beginning of

have already mentioned that up


symbol alone was employed

this

we

to paint portraitures of

God

the Father.

It

somewhat

is

why

reason
entirely

eschewed

*
iv.

See
24;

XXV.

10;

Psalm
i.

Nell.

21;

satisfactory

representations of the

Deity were

xviii.

xix.

46;

i;

Isaiah

ascribe

so long a period,

a later;

i8; Job

Isaiah hx.

Ixxxix.

51, &c.

ii.

Kings

began

for

prevalent during

that artists

find

to

difficult

personal

century

to indicate the presence

date

ninth

the

to

after that

of Jehovah

We

seventeenth century.

the

Mark
Ii.

21;

Eccl.

Kings
ii.

5-9;

most

the

33;

ii.

likely

Isaiah

Isaiah

Peter
Ixii.

v.

6;

so

one appears

Exod.

24;

15;

iii.

become

to

3; Josh,
16; Isaiah

xvi.

xix.

Exod.

xv.

Ezek. xx. 33;

16;

Luke

The

Symbol

God

of

Father.

the

29

be that they were shunned by the early Christians

to

through a praiseworthy and proper feehng of fear and


reverence.

the

Truly,

Invisible

is

it

vain for

man

to essay to depict

God, or give form and features

to

His

Awful Presence.
In portraitures
as a half-figure,

we

find the

issuing

(as

Father represented either

in

the

case

from clouds, or a full-length figure

Sometimes His head only


heaven,

as

in

the hand)

sitting or standing.

depicted, looking

is

French

of

miniature of

down from

the

fourteenth

century.*

God

In portraitures,
not infirm,

man

usually appears as an aged, but

of august

and venerable countenance,

and generally wears a beard and long


is

hair.

His head

always invested with a circular tri-radlated, triangular,

He

or lozenge-shaped nimbus.

also represented as a

is

King, and wears a crown as well as a nimbus


a Pope
robes,

in this

case

and wears a

He

tiara

is

and as

richly habited in the papal

encircled

either with

three or

five royal crowns.

Of

the

Hand, there are several

from each other

in

varieties,

form and position.

differing

The hand

sometimes represented closed or grasping some


* Figured in Didron,

p. 211.

is

object,

which
or

Symbolism.

Christian

30

presenting to

is

it

knife

open, with

them rays of

are

light

instance

latter

shown

favour poured forth upon

which represents

two forms of the blessing


because

Greek,

Church;

by the Western

to

be found

was

it

other the

the

hand

of the

and

in art

because

The

Christians.

that

one called

by the Eastern

adopted

Latin,

is

There are

the act of blessing.

in

it

Divine grace

in

below.

all

common form

Perhaps the most

The hand

issuing.

symbolic of

is

often

is

extended, and from

the fingers

all

below,

sword or

The hand

hand of Abraham.

the

in

entirely

the

person depicted

held by the person represented, as the

is

the

the

was adopted

it

difference lies only in

the position of the fingers.

The Greek form


the palm, and

and fourth

ment

is

crossed by the thumb, while the second

fingers

are curved

symbolical of the

senting four

Name

is

has the third finger bent towards

in

The

stands for the letter


sents
finger,

(the

which

ancient
is

This arrange-

name Jesus Christ, by

which begin and end

letters

Greek.

inwards.

first

(Iota),

finger,

the

the

which

is

repre-

Sacred
straight,

second, curved, repre-

Sigma of the Greeks),

the

crossed by the thumb, supplies

and the fourth finger represents another C

third

(Chi),

thus forming

Symbols
IC

XC,

Emblems

and

of

monogram

the Greek

God

Son.

the

of Jesus

Christ

31

(l^jfrouC

Xp/o-ToC).

The
letters,

Latin benediction does not appear to represent

as in the

Greek form, but

be purely symboHcal.

shows the third and fourth fingers closed on the palm,

It

leaving the

thumb and

The arrangement
Trinity, in

nimbus

correctly)

it is

-*-

^HE

and second

it

the benediction

is

plain,

though

it

(and

generally

God

and Emblems of

the

symbols and figures of

first

Christians in

to

the

is

Son.

God

the Son,

be found

in

Catacombs.

of the favourite symbols of the Saviour

Shepherd

given.

but not always, invested with the

might be expected, are

works of the

is

express the

tri-radiated.

earliest

as

fingers extended.

evidently intended to

is often,

sometimes

Symbols

is

first

Whose name

The hand

''

to

is

the

the

One
Good

found conspicuously displayed in fresco-

paintings on the walls and sarcophagi, as well

as

lamps and other vessels found in the Catacombs.

upon
This

Symbolism.

Christian

32

symbol

of

has,

know my

and

Shepherd,

As

and

And

other sheep

them

also

and there
In

must

Good

the

am known
for

life

are not

and they

bring,

its

of

hear

shall

of

know

the

sheep.

this

fold

my

voice,

be one fold and one shepherd." *

shall

the

have which

for

me, even so

down my

lay

am

and

sheep,

Father knoweth

the

Father;

the

authority

Christ Himself having said, "

adoption,

mine.

highest

the

course,

our Saviour

paintings

repeatedly

is

repre-

sented as youthful and beardless, clad in a short upper

garment or

The

cloak or mantle.

down

with two bands


at

the waist

which

to

tunic,

by a

added a flowing

at times

is

tunic

frequently ornamented

is

the front, and

usually gathered

is

belt.

Sometimes the Good Shepherd bears a sheep on His


shoulders,

and

carries a syrinx

right hand, while

His

left

hand

holding the feet of the sheep

without

His

the

on His

sheep

Shepherd, and look up to

and

Him

all

as

pipe

in

His

placed on His breast

He

others

shoulders,

The sheep

faithful flock.

is

at

Pan's

or

is

standing

depicted

among

appear to know their


if

craving His notice

caresses.

This

symbol of
*

Christ,

St.

John

X.

although
14, 15, 16.

in

frequent

use

during

Emblems

and

Symbols

God

of

Son.

the

early ages of Christianity, appears

the

33

have

to

died out about the seventh or eighth century.*

Another image of our Saviour was Orpheus, repre-

Although

lyre.

among

symbol
Christian

them

among

seated

sented

Faith,

perhaps the

Pagan source kept

or

first

was

it

of

its

by

from a

being derived

preference

in

Christian

the

the

to

used

little

from being adopted

those symbols derived from

to

converts

early

comparatively

fact
it

upon

playing

birds,

was a favourite and expressive

this

the

and

beasts

writings,

* This favourite image of the Saviour occupies a conspicuous place

on the walls and sarcophagi of the catacombs, on the lamps found

in the

tombs, on the glass vessels, and in the mosiacs of the old Italian churches
but

it is

strange to say that this symbolic representation, which appears to

have conveyed such consoling and pleasing ideas to the minds of the early
Christians,

from the

was not known

nth

after the year 1000,

The

to the i6th century.

derived was as high as that which gave

Lamb,

its

into the

the Old Testament, and in the Epistles

we

trace of

He

am

the

Shepherd caring
the shepherd's

The two

for the sheep, in the

flute,

and sorrowing

His shoulders, rejoicing


is

fulfil.

find

it

earned on in the

principal varieties

The
office

" it

title

variety of

which

He

show the Good

midst of His flock, with or without

for the lost one, or bearing

this last is the

also the oldest, especially in the

was

it

Good Shepherd

appears in this character includes every

might be supposed to

being found

Psalms and the Prophecies of

given to Christ, of the " Great Shepherd of the Sheep."

forms in which

it

sanction to the symbol of the

the Saviour Himself proclaiming, " I

was an image frequently introduced

no

authority from which

it

home on

most frequent representation, and

Western Church.

From

Eusebius,

we

Symbolism,

Christian

34
or from

purely

ideas

accordance with the teaching

in

of Christ.

The

reasons

Orpheus

of

the adoption

for

symbol of the Saviour are variously stated

by Mr. Charles

Browne,

those given

short but

his

in

as

interesting

new city, placed this subject on one


The simiHtude of the Good Shepherd
was not new to Christianity the Old Testament

find that Constantine, in adorning his

of the Fountains of the Forum.

watching over His flock


has

many

the Jews

instances of
neither was

representations

and

it

must have been

it

unknown

Christian era,

hands

It

is

hand

only.

a very

His shoulders and

common

the lost sheep


less

generally held

is

At other

hand

times,

in

Finally, the sheep

Good Shepherd, who


that

its fold,

subject in the

is

by the four

will

should a

feet,

with two

and more especially when the


is

He

has

made

in

He

bears

right

retained by one

so weary

is

and so rejoiced

it,

at

again endeavour to escape

The Good Shepherd Himself seems sometimes more weary than


of the burden which

less firmly

it

lest

seated affectionately on the shoulder of

fears not,
it

more or

fear,

occupied by a musical instrument, the sheep

returning to

first

which time religion was wonderfully gentle in

at

and seem more or

shoulders,

second time escape.

the

flute, is

The shepherds hold

spirit

their

minds of

and some of the

bearing the sheep upon

holding in His hand the Pandgean

on

to the Pagans,

p. 29.

The Good Shepherd,


earliest

familiar to the

show a strange mixture of Christian and Pagan ideas and

Twining,

feeling.

it,

upon His

at others,

shoulders, or with the journey

order to recover His lost sheep

but ordinarily

He

appears unconscious either of the burden or the fatigue


Figures of the

Good Shepherd

part of the sarcophagi

centre of the
archivaults

tomb

or of the vaulting,

and tympanum.

most honourable

are usually placed in the

and paintings

Didron,

in the

catacombs

and are placed


p.

339.

they occupy the

middle of the

in the
.

lecture

Emblems

and

Symbols

on Symbolism,* appear

God

of

to us to

the

be so

both as regards argument and the manner

we

are put, that


*

Upon many

in the
in

give them here in his

in

Son.

35

satisfactory,

which they

own words

of the early sarcophagi and tombs found

catacombs of Rome, those subterraneous caverns

which the Christians were accustomed to assemble,

for

the performance in

secret

which persecution forbade them


of day,

is

to

those

of
to

religious

rites

exhibit in the light

be found the representation of Orpheus

playing on his

lyre,

in

situations,

and with

accessories,

would leave no

which, were direct information wanting,

doubt of the figure being intended as a symbol of our

Lord Himself.
"

Orpheus, as the old mythologists

who produced

such exquisite

of his lyre, that

and

all

stones, trees

birds

beasts,

was a musician,

harmony from the

nature, animate

and

told,

strings

and inanimate, stocks


and

fishes,

thronged

around him when he played, gave up the ferocity or


brutishness of their natures, and

and of peaceful

became

gentle, amiable,

Then Orpheus, they

disposition.

was enamoured of Eurydice, who,

alas,

dull

said,

treading through

the long grass was stung to death by a serpent, carried

* Joseph Masters.

London, 1856.
2

Christian

36

off

Symbolism.

and there committed

the realms of darkness,

to

the unrelenting custody of the infernal powers.


divine

love

and

beloved

Orpheus'

stirs

breast

Eurydice,

lost

he,

charms the grim potentates of


to

the realms of light and joy.

Lord.

He Who commanded

Whom

the winds

and

bidding

the lion

should

the
lie

mind

to a

seemed

allegorical subjects,

the character and

point to

descends to the

and bears back the

hell,

here was a story which

and

figurative
to

one

lost

Now

"

his

with his mysterious powers of harmony

infernal regions,

loved and

too,

Then
of

search

in

to

waves

Blessed

of

Nature,

obeyed,

down with

at

Whose

the lamb,

Who,

our

powers

the

peace should reign in the world

many ways

in

of

history

trained to

again,

and

in

His

ardent love for the soul of man, stung to death by the


bite of a serpent, that old serpent

death,

and Himself descended

lost

soul back to

say,

Whom

all

these

the minds

Devil,

of

overcame

into hell, to bring man's

heaven and happiness;

this history

points

the

seemed

foreshadow

to

resemblance

was He,

it

suggested

of the early Christians,

as

so that

Orpheus

fitting

to

symbol

under which to represent our Lord Himself."


Perhaps of
of which

we

all

the symbols of our

are about to treat

is

Saviour the one

the most beautiful and

and

Symbols

appropriate

Emblems
same time

at the

of

eras

image

Church, and

the

and we

certainly

received

when we

continues a favourite

it

the

is

cannot wonder at the favour

how

consider

37

both the early and

in

This symbol

the present hour.

to

Son.

the

was the most favourite

it

and most frequently used symbol


later

God

of

perfectly

Lamb
has

it

sets forth

it

the qualities that characterized our Blessed Lord.

The Lamb

the

in

high

Good Shepherd,

adoption as the

both

same

has the

New

Old and

authority

for various

Testament

for

its

passages

refer to

Christ

under the image of the Lamb.

He
and

was

Prophets

the

symbol

by the Lamb under the Mosaic Law,

typified

various

in

speaking of the future Messiah.

in

Testament writings the image

more

direct

prophets,

slain without
tion, is the

murmuring.
slain

at

Easter,

in

symbolic lamb

Christ,

in

suffers

spoken of by
Himself to be

shedding His blood for our redemp-

by the children of

celestial

Israel,

and with the blood

other

Divine

Lamb

order thereby to

which they are held by

The Paschal Lamb,

"/?//."

on the night preceding

type of that

the

is

houses to be preserved from the wrath of

marked with the


Israelites

New

In the

again used, and

lamb who meets death, and

the

lamb

of which the

is

the

manner.*

* Christ dying on the cross,


the

employed

instances

vice.

their

of

free

St.

departure

whom

God were

eaten by the

from Egypt,

Christians are

to

is

the

partake

themselves from the bondage in

John, in the Apocalypse, saw Christ,

Symbolism.

Christian

38

In the Gospel according to St. John,


exclaims, on beholding Jesus

Baptist
"

Behold the

Lamb

And

of the world."

the

Lamb

God which

of

in

lamb

details

and

slightly

differing

sins

Behold

attribute

of

from

each

of

other

The

fresco.

earliest

standing posture devoid

in a

holiness,

many examples

These representations

accessories.

examples display the lamb


the

away the

again, in the 36th verse, "

appear both in bas-relief and in

of

John the

of God."

symbolic
their

29,

coming unto him,

taketh

In the catacombs are to be found


the

I.,

its

head

sometimes,

is

however, surmounted by a simple cross or the Greek

monogram

The

Lamb

(X crossed by a

most

beautiful

are those

in

P).

of

representations

which

depicted, invested

is

it

an inscribed nimbus, standing upon a small

which four streams are flowing.


of force

and meaning

of Christ, the

the four

the

hill,

This composition

hill

the four

Holy
with

from
is full

represents the Church

mountain of God's House;

Holy Gospels

the

the streams,

rivers of Paradise, ever

under the form of a Lamb, wounded in the throat, and opening the
book with the seven seals.
Finally, Christ is the Lamb, who offered

Himself as a victim to wash away in His own blood the pollution of


our nature, and of our carnal actions.

Didron,

p.

318.

Emblems

and

Symbols

flowing onward

through and

monogram

presents the Greek

and omega

(12)

the

Son.

the

39

invigorating the pastures

The

of the Church on earth.

God

of

inscribed nimbus usually


associated with

alpha (A)

beginning and the end.

Later representations of the Lamb, in the catacombs

and

the early churches of

in

Rome, have the divine

One example

nimbus, or circular disc tri-radiated.

symbol occurs

a sculpture in the catacombs, having

in

the divine nimbus with a small cross

of

its

of the

marked on each

three rays.

The Lamb became somewhat

altered

mount and the

not depicted

the

Lamb

general

In works executed

appearance after the sixth century.


since that date the

in

four flowing rivers are

appears standing on the ground,

bearing a cross, symbolical of the

Passion,

and a small

cross-adorned banner, symbolical of Christ's victory trium-

phant over Death and Hell, and


with a tri-radiated nimbus.

symbol

is

usually

termed

it is

universally invested

This beautiful and favourite


the

Agnus

Dei.

(Fig.

r,

Plate in.)

We

may remark

to set forth the

lambs,
sion,

when

meek

here that a lamb was at times used


Christian, timid

and

faithful.

Twelve

depicted together, generally in regular proces-

represented the Apostles of Christ, and a thirteenth.

Symbolism.

CJiristian

40

others, symbolized

more important and exalted than the


Saviour, and

our

was the only one invested with the

nimbus.

The Lion

we very seldom meet

although
reasons

most

has also been used as a symbol of Christ,

may have given

cause for

of Revelation, where Christ


tribe of Judah."

As

Book

in the

Lion of the

regards the question, whether the

a symbol of Christ, should or should

as

Many

art.

adoption, but the

its

called " the

is

we

invested with the divine nimbus,

be

not

are clearly of opinion

without that distinguishing attribute, the symbol

that,

Didron remarks

voiceless.

moment

this

in

it

one appears to be the passage

forcible

Lion,

with

we meet

"

Sometimes, although

can recal but two instances of the

is

at

fact,

with a lion bearing a cruciform* nimbus.

figure of our

early

art,

with

its

is

Redeemer, often

the Pelican.

It

is

be met with

to

own

blood.

the Naturalists of old, observing that the

had a crimson

reported that

its

in

surrounded

represented

young, and feeding them with

It is said that

Pelican

it

stain

on the

was accustomed

* In our chapter on the

lip

of

to feed its

Nimbus we have shown

beak,

young with

that the bars, which

Didron and others have taken to be a cross on the


nimbus, are but three rays setting forth the Trinity.

its

field

of the divine

Emblems

and

Symbols

the flowing blood of

own

its

God

of

which

breast,

Son.

the

41

tore

it

for

the purpose.

In this belief the early Christians adopted the Pelican


figure

to

and

Christ,

set forth

our redemption through

His blood, which was willingly shed

The

children.

was never invested with the nimbus,

Pelican

and, therefore,

His

for us,

its

place in art

is

not so exalted as the

foregoing symbols.

Although the Pelican

we

a beautiful

and expressive

and cannot be too often used

figure of Christ,

work,

is

can

claim

scarcely

for

it

modern

in

position

as

symbol.*

* "

By

the words symbol

employed

design,

tangible

and
to

convey

surrounding the heads of saints

Considered in
same.

They

this
differ

light,

dogma

itself,

is

an

it

an

article

as the necessary

Lamb, indeed,
aspect.
idea.

is

figure,

The

figure

idea

and the

of

the

figure

in the following points.

some dogma of

figure

is

is

the

an exterior

is

it

like

is,

the symbol of Jesus

the Divine lamb,

oblige us

and dogmatical representative of

Christ.

to

The

Christ Himself, Christ in person, and under a visible

on the other hand,


is

is

an arbitrary representation of any

not imposed by sacred dogmas, or by the revealed

a variable creation of the imagination.

to receive a symbol, but

demands our

nimbus

precisely

are

symbol

word, but results simply from the free operation of the

The

sensible or

circular

religious belief;

The lamb

faith.

Christ; for the sacred texts relating to

receive

we understand any

the material sign of their holiness.

the symbol

formula, the representation of

the

figure,

faith,

may be persuaded

human mind.

We

are required

to admit a figure

the second fascinates the mind.

Christ

is

the

first

symbolized

From
show

art as a

been

Saviour has

our

very early times

As we

under the figure of a Fish.

forth

to

Symbolism,

Christian

42

set

attempt

shall

Fish has been used

in a future chapter, the

in

symbol of Baptism as well as a figure of Jesus

Christ.

At

as early a date as the fourth century,

have been known that the


by a

and,

lion,

by a

figured

may be
dying,

still

more

and shedding His blood

neither

He

plished.

The lamb, on

is

he

figure,

allegory.

less

young

an appropriate figure of Jesus,

would

it

mankind.

Still

the

have a cruciform nimbus

by the pelican

in the Courts of

the contrary, wearing a nimbus divided

unfolded in

myth

is

when

fully

Heaven,

by a

cross,

and the

developed, becomes a myth

presents nothing

all its details,

a belief, an assemblage of dogmas

may

merely a combination of metaphors, and

merely

indeed, Christ Himself, under the form and appearance

is,

but the

pleasure.

is

depicted in scenes both from the Apocalypse

Lastly, the symbol,

of a lamb.

He

under that form in any of the events there accom-

tal^e part

constantly

Gospels

is

for the salvation of

still

Christ ever represented

is

nor does

forming

pelican, lacerating her breast, that her

nourished with her blood,

pelican never has a nimbus,

appears to

letters

by a lamb; but

appropriately,

The

pelican.

Greek

five

it

myth belongs to

faith,

an

and wine, are

signs,

an allegory

is

be accepted or rejected at

allegory rests only

The symbol is a divine creation, a revelation from God


human invention and by man set forth. The water
Eucharistic bread

more than an

or symbols.

on opinion.

the figure

is

of

of baptism, the

It

would not be

possible in the Eucharist to substitute " water for wine, nor in baptism to
substitute

the same.

wine for water, "for those symbols are unchangeably, eternally

One

figure

with perfect propriety


of man,

may

may on
;

the other

hand be

the vine, yielding

its

substituted for another,

juice for the nourishment

take the place of the pelican, which gives her blood to

word

the

fish in that

supplied the

God

Son.

the

43

language (IX0TS), when separated


the five words

Christ

Son of God

(the)

was doubtless

it

of

initials for

Jesus

And

Emblems

and

Symbols

this fact

(the) Saviour.

gave cause

that

for the

adoption of the Fish as a figure of our Lord.

among whom

Several early writers,

is

St.

Augustine,

speak of the Fish as a figure of Christ.


support her young.
at pleasure

may be created by the imagination


M. Didron (who appears to have been

Finally, figures

but not so symbols."

guided in the above remarks by M.

J. J.

Ampere's lectures on the subject,

delivered at the College of France in 1837).


"

With regard

to the

two words used

...

ought perhaps to say

something of the meaning to be attached to them, as well as of the


distinction

between them

be inclined

believe that the


to

for that there is a distinction,

few persons

will

may not be very easy to define it. I


words Symbol and Emblem are often used indifferently

to doubt,

though

express the same meaning

it

Symbol may sometimes be used

but
for

it

should be observed that the term

an Emblem, where the contrary would

Anchor may be either the Symbol or


we could not say that the Lamb or the Good
Shepherd were Emblems of Christ, since He Himself is embodied in
or represented by them.
They must therefore be distinguished as
this
term
then
Symbols and
may
be considered as something expressive
not be true

Emblem

of

as,

for instance, the

Hope

but

of the whole being and character, rather than any particular attribute
or quality, of the person or thing represented.

may

clearly

The same

object, however,

be considered a Symbol as well as an Emblem, as the Sword

Symbol of martyrdom, and the peculiar Emblem of

is

the

L.

Twining.

St.

Paul."

Christian

44
It

supposed, perhaps with

is

form

pointed oval

the

branches

The

name

familiar

of Christ,

self says

is

being,

it

Lamb, derived

Chapter

for the

the

I.

all

com-

and Plate

"

Him who

II.,

be treated of

era,

when

am

St.

the

the

" I

John,

the vine." *

Christ

am

it

symbol of Jesus

in

of
first

the

Him-

the true

bunch of grapes

gave His body and blood

important

URING

pointed form

from the Scriptures.

by the mouth of

Symbols

most

is

Good Shepherd and

and the several monograms used


shall

which

in

sometimes employed as a symbol

like

direct

and again,

The

and

that

Vesica Piscis.

is

The Grape Vine

figures

employed

frequently

for the aureole (see

occurs in art

vine,"

art,

some foundation,

was derived from the shape of the body of a

9),

fish.

so

Christian

of

monly used
Fig.

Symbolism.

Christ,

to set forth

for

man.

the

Cross,

His name,

our next chapter.

God

the

Holy

Ghost.

eleven centuries of the Christian

Holy Ghost was

* St. John,

chap. xv.

almost
and

5.

exclusively

Symbols

God

of

There

symbolized by a Dove.

Holy

the

is

this

symbol was derived from the

the

recorded

Baptism

Holy

declares that the

of

Ghost.

little

doubt but that

New

Testament.

Lord

our

45

In

Evangelist

the

descended as a Dove upon

Spirit

our Saviour.

Although we must believe that Scripture has supplied

Dove

the principal authority for the adoption of the

as a

symbol of the Holy Ghost, yet there are other reasons

may

which, in looking at the question,

As M. Didron
we

subject,
"

mind

under

when,

reverted

all

the

remarks

apt

on

the

nature

desired

divine

animated,

is

being which

living

represent

to

and viewless

mind

the
is

spirit

naturally

the

in

of

properties

essential

men

therefore,

form that

that

to

are

rapidity

visible

by which

some

cannot do better than quote them here

Motion and

the

us

gives

not be neglected.

highest

degree endowed with velocity and activity of movement.

The

upwards
from

moment

bird in one
into

our

the expanse of heaven, where

sight

it

transports

country, with

traverses in a

moment

their height

from the earth and soars

rises

and

facility

extent.

equalled

itself

from

only by

its

it

vanishes

country to

speed

it

the largest tracts of space, in

all

The

bird,

dom, was necessarily selected as

in the

the

organic king-

image of mind.

Symbolism.

Christian

46
the

or

spirit,

which

breath

is

set

in

from

its

motion,

rapidity

vivified.
"

The Dove, amongst

nature, in the first place,

of

its

birds,

and

gentle and loving

in the second,

from the purity

plumage, has been preferably selected as the image

of the

Holy Ghost.

Indeed, a white

Dove

regarded,

is

both in historical narration and in works of

as the

art,

impersonation of the Spirit of God."

The

meet with
is

in

art

is

in a bas-relief

about A.D. 359,

It

Dove we

of the symbolic

earliest representation

on a tomb

date

its

appears hovering over a lamb

(which symbolizes our Saviour), and shedding the Divine


blessing.

In representations of the Baptism of Christ, the


is

usually

shown descending, with outstretched wings, and

throwing from

beak a bright stream of rays upon the

its

head of the Saviour.


the

Dove

Dove

appears,

it

But, in
is

shown

other subjects

in

in all positions, in

which

upward,

or horizontal flight, or at rest.

The

colour of the

and sometimes

it

Dove

is,

in all

has red feet and beak.

cases,

pure white,

It is frequently,

especially in early work, represented without

but

it

is

a nimbus

obviously incorrect to omit the attribute.

appears, at times, invested with a plain nimbus

It

at others,

Symbols

of

properly, with the

of

God

the

Holy

seen in an

"

letter in

initial

47

nimbus, or three groups

tri-radiated

rays without the bounding

three

Ghost.

circle,

as

may be

Book of Hours" of the

thirteenth century, preserved in the British

Museum.

In a mosaic, representing the Virgin and the Infant


Saviour, in the cathedral of Capua, dating about
780,

symbolic

the

Dove

is

depicted

invested

A.D.

with

triangular nimbus.

Although the
aware of

in

of opinion

example

is

the only one

we

are

which the triangular nimbus appears, we are


that

strictly correct,

its

application

to

Divine

the

and therefore recommend

The Dove, when used

modern work.
the

latter

is

adoption in

its

as

Dove

a symbol of

Holy Ghost, should by no means be invested with a

plain nimbus, notwithstanding early usage gives authority


for

it.

When

the

one

triangular

is

not

adopted, the

ordinary tri-radiated nimbus must be applied, as shown in


Plate v., Fig.

The

I.

proper colour for the

field

The

yellow (or gold), with red rays.

of

the

nimbus

is

rays are sometimes

black in existing examples, and the nimbus

is

sometimes

red with gold rays.

The drawing

of the

most complete form.

Dove on
It

is

Plate V. shows

descending from

it

in its

heaven,

Symbolism.

Christian

48

by the bkie ground

which

is

stars

invested with the tri-radiated

that

it

forth

set

shedding

rays

of

nimbus, which

Holy

Person of the

symbolizes a

which

light,

studded with
tells

and

Trinity;

Divine

the

represent

blessing poured down.

Seven Doves are frequently depicted


one being

in

respects

all

similar

to

together, each

the

single

These Doves

adopted to symbolize the Holy Ghost.


represent the seven

Holy

manifestations of Grace.

The

Spirit,

are thus
Isaiah

set

roots,

the

Spirit of

and the
St.

"

Spirit

His

shall

words

come

of the

Spirit

Scripture.

regarding

forth
shall

Lord

Wisdom and

of

sevenfold

idea of the Spirits, which

prophetic

there

and the

in

evidently derived from

these

And

Spirit

stem of Jesse, and a Branch

of the

him,

the

forth, is

utters

Messiah*

his

or

God, the seven Gifts of

Spirits of

one

the

Dove,

the

Rod

out

grow out of
upon

rest

shall

Understanding,

the

Might, the Spirit of Knowledge

Counsel and

fear of the Lord."

John speaks of the seven

Revelation, saying, f

"

And

Spirits of

beheld, and,

lo,

God
in the

in

his

midst

of the throne, and of the four beasts, and in the midst

* Isaiah

xi.

i,

2.

+ Revelation

v. 6,

11, 12.

Symbols

of

God

the

of the elders, stood a lamb as

it

Holy

Ghost.

had been

49

slain,

seven horns and seven eyes, which are the seven


of God, sent forth into
voice of

many

all

the earth.

And

having
spirits

heard the

angels round about the throne, and the

number of them was ten

beasts and the elders; and the

thousand times ten thousand, and thousands of thousands,


saying with a loud voice.
slain

to receive

Worthy

is

the

Lamb

that

was

Power, and Riches, and Wisdom, and

Strength, and Honour, and Glory, and Blessing."


It will

be observed that a considerable difference exists

between the Gifts of the

Spirit

enumerated by Isaiah and

those mentioned by St. John, two only being the same.

Wisdom and

Strength, or Might.

Sometimes, instead of seven Doves, seven burning

Lamps
John

are depicted to symbolize the Spirits of God.

says,

lamps of

in the

fire

Apocalypse,

"And

there were

St

seven

burning before the throne, which are the

seven Spirits of God."

The
we

only other symbol of the Holy Ghost with which

are acquainted, and which remains to be noticed,

is

the Eagle.

This symbol was adopted by the ancient Hebrews,

and when

it

appears in

art, it

is

with persons of the Old Testament.


F

generally in connexion

The

Eagle, as a symbol of the Spirit,

occurrence in Christian
to symbolize St.

The Eagle

is

John the Evangelist.


is

depicted on

to

the painted roof of St.

good reason

is

there intended to symbolize the

the fact that


the

it

Agnus

The heads

of very rare

is

being commonly employed

art, it

Alban's Abbey, and there


it

Symbolism.

Christia7i

50

to believe that

Holy Ghost, from

appears equal in importance and dignity


its

accompanying symbol.

Lamb and

the Eagle are invested

Dei, which

of both the

is

The nimbi

with nimbi precisely similar.

are ornamented,

but are not tri-radiated.

Symbols and Emblems of the Holy Trinity.

T~XURING
-*^

the

early

centuries

Church but few attempts appear

made by

artists

to

express

the

symbols

be attached

or
until

emblems

we

to

enter

Christian

the
to

sublime

have been

and

awful

Indeed we meet with

mystery of the Holy Trinity.


few

of

which any weight may


the

9th

century.

From

PLATE

111

occurrence in

much

than

but as there

we

few

is

the portraitures
of

the

Trinity,

an impropriety in attempting to set forth

passing

by means of

to

and

remarks,

purely

those

have been adopted by


thousand

frequent

art.

in

figures in

years

artists

to

human

the

of the subject with

shall dismiss this portion

particularly

exists

symbolic representations

the Sacred Mystery


form,

variety

greater

Trinity. 51

very

of

are

branches of Christian

all

the

in

Holy

the

of

they

however,

period,

that

Emblems

and

Symbols

more

ourselves

confine

which

forms

symbolical

during the long period of


the

express

of

doctrine

the

Godhead.

From
figures

about

end

the

various

representing
others

and

all

the

two were

our

Saviour,

These

persons

were

three

of

God
the

being indicated by His symbol the Dove.

one human form only was used


Father, both

God

the

Son and

to

the

represented by symbols, usually the

An

interesting

grouped
depicted,

set

the

Father

Holy

Ghost

Frequently

forth

God

the

Holy Ghost being

Lamb and Dove.

example of the first-mentioned


F 2

At

Godhead.

the

of

presence

were

figures

shown, representing
the

Three

to set forth the

Sometimes

ways.

human

century

9th

the

were frequently employed

Persons of the Trinity.


in

of

treat-

Symtbolism.

Christian

52

ment of the subject

to

is

14th century in a French

Royal Library

be seen

a miniature of the

in

Manuscript preserved

at Paris.

In this representation

of the Trinity the Father

seated in the centre, with the Saviour on

Holy Ghost on His

the
in

His hand the

cross; the

open

express

which

The

knowledge.

and

they are

all

figures are

enveloped

holds

of sovereignty

the attribute

orb,

is

His right and

The Father

hand.

left

Son supports a small


tablets,

the

in

the

Holy Ghost holds two


and

intelligence

perfect

shown of the same age


with

one

mantle,

which

gracefully falls from shoulder to shoulder, being clasped

The Three Persons

on each breast by a brooch.

are

invested with the tri-radiated nimbus.

In
British

MS.

of

Museum,

the

14th

there

is

God

second treatment.

are represented of the

century,

preserved in the

an interesting example of the


the

same

Father and
age,

God

the

and are clothed

Son

alike

both wear the tri-radiated nimbus and carry the orb of

The Holy Ghost

sovereignity.
in the

form of the Dove.

Another example,
to
St.

be

appears between them

found

Mark's

in

perhaps the

Grimani

the

Library

at

finest

Breviary,

that exists,

is

preserved

in

Venice, a beautiful

etching

of

which

Emblems

and

Symbols

inserted

is

Lady

Mrs. Jameson and

we beg

numerous

History of our Lord,"

To

Eastlake.*

last-mentioned

the

of

nth

the

century in the

God

representing

on

Father,

the

Dei, and on His left the

There

treatment

from

differs

Museum,

British

appears,

of the Cross.

right

already enumerated.

the Father as a venerable

usually seated

produced

by depicting the symbols of

by Longman

all

its

desire

to

branches,

Iconography" (French
discussed.

&

Co.

the

Hand,

1864.

XXXV.

Those who
in

on the upper limb

the Three Persons, combined in one group

+ Plate

the

appropriate symbolic representation of the

that

* Published

is

The most
is

His

a figure

is

crowned) supporting a large crucifix

(generally

Dove

is

Dove.

those

God

This treatment presents

Trinity

are

another Trinity, frequently to be met with

is

which

art,

subject

drawing

this

In the centre of the composition

Art." f

figure

by-

Symbols of Early and Mediaeval

figured in Twining's "

Agnus

53

a very interesting one, from a Saxon manu-

script of

the

Trmity

to refer our readers.

Examples

in

"

the

in

Holy

the

of

become thoroughly acquainted with


should consult

edition),

where

it

is

M. Didron's
most

fully

this

" Christian

and

learnedly^

Symbolism.

Christimi

54

We

Lamb, and the Dove.

the

symbol

so

works.

One

formed
said

being

is

to

The one which

existence

in

aware of a
ancient

in

have been executed

for the BasiHca of Nola, but

The emblems

not

are

no longer

it

art

mosaic

in

exists.

of the Trinity are few and expressive.


is

at

once

beautiful

the
is

and

simplest

the equilateral

(woodcut Fig.

and angles are

equal,

triangle

three sides

Its

i).

most

and

are

all

complete in themselves, and when

combined
^^s-

perfect

figure.

Trinity

is

the equality of

its

of

doctrine

symbolized by this figure

distinctly

three

The

I-

form

the

component parts declares the perfect equality of

the Persons of the Godhead, while the union of those


parts speaks of

The
to

the unity of the Godhead.

appropriateness of this geometrical form appears

have been acknowledged by

artists

of

during the early centuries of the Church

all

ages,

and

was probably

it

the only one used to set forth the Trinity.

The
the

triangle

gravestones

occurrence

emblems.

in

appears in the
of

the

Catacombs, carved on

converts,

comparison

with

but
other

of

rare

symbols

and

it

is

Symbols

and

The emblem

Emblems of

Trinity as

the

of

Holy

the

accompanying woodcut (Fig.

Trinity.

represented

55

the

in

2) is

doubtless familiar to most of our

having

readers,

been

very

fre-

quently adopted In modern times.


It

usually to

is

be seen painted

over the altars In our churches,


particularly

the

in

built during the last

either

encircled

ones

classic

two

centuries,

with divergent rays (as In

surrounded by clouds to give

The

appearance of the

prominence and

It

composition

latter

Fig.

Is,

2)

or

effect.

however,

anything but satisfactory or pleasing.

The emblem may be


to

said,

comparatively speaking,

be of modern Introduction, not having been adopted


the true feeling of symbolism had

until

appears to have been

when

the

practice

Father and

the

first

of

used

painting

In

died out.

the

i6th

portraitures

Holy Ghost had

It

century,

God

of
to

be

inscription In the centre of the triangle is

the

the

ceased

encouraged.

The
name

The

of

God

circle

eternity

or Jehovah, written in

Hebrew

may be

as

of rays

but

when

the

idea

accepted
of

eternal

characters.

symbolic

of

existence

is

Christian

56
desired

be

to

around

described
Plate

expressed, a

emblem,

the

in the

if

woodcut

duced

loth

the

trefoil

was used

in

details,

(Fig.

3),

an emblem

is

and expressive as

When

it

was

in art is uncertain,

first intro-

but

it

appears

During the 13th and 14th centuries

century.

the

brightness,

not to have been adopted earlier than

3-

p'i-

3,

considered desirable.

simple

the triangle.

Fig.

in

be

or shamrock, figured

trefoil

almost as

shown

as

placed around the circle

The

should

circle

of glory and

Rays, indicative

III.

may be

distinctly

Symbolism.

stained

great

in

glass,

profusion in architectural

painted

and

decoration,

in

illuminations.

Patrick

St.

in

the

is

manner

although

it

is

said to have

detailed

doubtless

we must be pardoned
place, let

in

first

the following

known

for

suggested the emblem

to

which,

most of our readers,


In the

inserting here.

first

us remark, St, Patrick visited Ireland, having

received a mission from

Pope

Celestine, for the purpose

of converting to Christianity the rude

and benighted
holy

story,

man.

state called forth

After

affronting

undergoing the greatest

Irish,

whose dark

the sympathies of this

numerous

fatigue, his zeal

was

dangers,
fully

and

rewarded

Symbols

by

Emblems

a?td

among whom were


In

he

years
of

Holy

the

Trinity.

Thousands embraced the Christian

success.

districts.

of

religious

faith,

the kings and chiefs of the various


after

short,

died,

57

an

Ireland

leaving

of

forty

and

christianized

destined

institutions,

ministry

active

full

become famous

to

throughout Western Christendom.

We

now come

legend which details

to the simple

how

St.

Ireland

her national emblem,

now

so gracefully united with the

Rose of England and

Patrick gave

to

the Thistle of Scotland.

When

engaged

tude of eager

in

preaching to an assembled multi-

listeners,

and

in

attempting to convey to

minds some idea of the mysterious Godhead, the

their

worthy Saint found great

a doctrine appreciable to their dull


his eyes

around

for the

till

casting

he caught sight of

illustration,

shamrock-leaf growing

simple

senses,

refined

purpose of finding some object

which would act as an


the

making so

difficulty in

close

to

where

he

stood.

Nothing could be more apposite


tration

he wanted.

holding
the
that

leaf,

it

up so as

so

well

He
to

known

this

was the

immediately plucked

be seen by
to

Divine and wonderful

them,
Trinity

all,

illus-

it,

and,

explained

how

was an emblem of
of

which

he

had

Christian

58

He

been speaking.
of

leaves

distinct

pointed out to the surprised gaze


three

shamrock, and yet

the

in

were

there

that

listeners

his

Symbolism.

formed but one perfect

Thus

leaf.

and

perfect
they,

united,

Patrick gained

St.

means of making an impression on the minds of

the

by

the ignorant heathen of his day, which,

and

ness
until

he

eloquence,

they were

taught

was

the

enabled
of

truths

his earnest-

improve

to

Gospel of

the

Christ.

We
century

we

of this enlightened and unimaginative nineteenth

may

learn a lesson from this simple legend

Does

should do well to respect.

there

is

an efficacy

in

remark

that,

to

not

tell

mind

almost needless

It is

imbued with a

feeling for

symbolism, every object in the daily walk of

have the
often,

us that

adopting simple means as teachers

and remembrancers of great truths


to

it

which

may

life

those truths which are

effect of recalling

so

but which never should be forgotten.

The form

of

emblem shown on

Plate III.,

fig.

4,

is

very frequently used in preference to the plain triangle


it

is

composed of two

forming a star of
accepted

This idea

as
is

six

expressive
still

triangles

equal
of

intersecting each

points.

the infinity

It

is

of

further carried out in a

other,

commonly

the

Trinity.

Greek painting

Symbols
of

15th

the

Emblems

mid

find

Trinity.

four

59

equilateral

behind one another, producing a star

placed

triangles

where we

century,*

Holy

the

of

The emblem

of twelve points.

is

this

in

instance used

as an aureole, surrounding a half-length figure of Christ.

The term

"

pentacle "

entwined triangles (Plate

frequently applied

is

III., Fig. 4),

but

form presenting six and not

incorrect, the

it

is

to

the

evidently

five points as

the term suggests.

The form shown


4)

may

pentacle,

but

(Fig.

be called

correctly

as

woodcut

in the

neither

is

it

is

it

not

in

bination

shown on Plate

The
ance,

preference

circle,

may

as an

the

to

be

to

likely

adopted

so

nor so

satisfactory as regards shape,

expressive,

com-

Fig. 4.

III.

emblem

of eternity, or eternal exist-

with propriety be accepted as an*

God, and three

circles

entwined together

emblem

may

of

likewise

be accepted as an appropriate emblem of the Trinity


the Three Eternal Beings in Unity.
of this

emblem

is

to

be seen

in

beautiful

example

a French manuscript of the

13th century, preserved in the Library of Chartres.f


*

Figured

in

Didron,

p.

282.

t Figured in Twining, Plate 35.

It

is

Symbolism.

Christian

6o

composed of three open

same manner

the

circles

shown

as those

or rings entwined in

Plate III., Fig.

in

5.

In the outer spaces of the circles are inscribed the three


syllables of the
is

word
word

inscribed the

The

"trinitas;"

and

in the centre space

" unitas."

we have

remaining emblem of which

before closing our present chapter


Plate III., Fig.

It is

2.

is

that represented on

found portrayed in painted

engraved on monumental brasses, and

an architectural enrichment.

Its

general treatment remains the

same

shown

in Fig. 2

to speak

form

occurs

also

it

varies,

glass,

as

although the

in all examples.

That

founded upon the equilateral triangle

is

the circular aureoles at the angles contain the

initials

of

the names of the three Persons of the Trinity, and the


aureole contains the

word

"

Deus."

Pater non

non
Spiritus Sanctus Spiritus Sanctus
non
Pater Pater
Deus
Deus Spiritus
Sanctus
Deus." That
The Father not the
Son The Son
not the Holy Ghost The Holy Ghost
The whole

Filius

inscription reads

Filius

thus

"

est

est

est

est

Filius est

est

is

is

is

is

not the

God

The

Father.

The Father

Holy Ghost

is

God.

is

God The

Son

is

CHAPTER
The

Cross.

MONGST
Blessed

all

the

symbols

of

our

Lord, the Cross stands pre-

eminent.

and

III.

It

is

once the oldest

at

most universal of

all

symbols,

and the use which holy persons have

made
which

it

has been held in

consecrated and endeared

of

it,

all
it

to

and

the

reverence

in

ages of the Church, have

every Christian.

Apart from being a perfect symbol of Christ,


the
Cross, having been the instrument of His
great sacrifice,

becomes the sign of our


Atonement.

mark

It

is

also

salvation,

the

or sign of the Christian

the

universally
Faith.

emblem of the
acknowledged

Wherever

Chris-

Symbolism.

Christian

62

tianity

there will the Cross be seen, and there

is,

will

it

be loved and venerated.

During the early ages of the Church, while, as an


instrument of punishment and torture, the Cross remained
a horrible

reality,

eyes upon

its

the Christians ever dwelt with loving

form, seeing

only in the bright rays

it

Him Who

sent forth as the true symbol of

might

live,

and as the sign of


"

Paul says,

Saint

God

died that they

their salvation.

forbid

that

should glory,

save in the Cross of our Lord Jesus Christ, by

world
so

is

crucified unto me,

it

and

whom

the

And

unto the world."*

thoroughly did this feeling lay hold of the minds of

the early converts that they lost no opportunity of tracing


the form of the Cross in

around

them.

Mr.

all

common

the

Browne

remarks

objects of

"

The

life

early

Christians were fond of tracing the sympathies of animate

and inanimate Creation with the mysteries of


correspondence,

Kingdom

even

in

outward forms,

of Nature and the

Kingdom

religion

between

of Grace.

the
the

Hence

they dwelt with delight upon the innumerable images of


the Cross, with which the objects of every-day

them

life

provided

they loved to see the Cross depicted in the wings

of birds flying in the

air,

the masts and yards of ships

* Galat.

vi.

14.

The
sailing

on the

Cross.

63

meeting of opposite roads

sea, the

in their

journeys upon earth, the boughs of trees in the

forest,

the roofs and rafters of the dwelHng-places in towns

in

every object almost which could meet the sight of one

prepared to recognize

be

redemption

to

and

minute,

in

every
their

ears,

him deny

found,

If

'

himself,

was the sacred sign of

there

it,

to

remind them every hour,

of that warning

any

man

will

and

take

up

ever ringing

for

come

Cross

his

Me,

after

daily,

let

and

follow Me.'

Nor was

"

this feeling confined to those of the primi-

tive centuries.

ages

and

It

has animated the pen of writers in

cannot refrain from quoting here some quaint,

though touching

lines of our

own Donne, pleading

objectors for the retention of this


"

'

all

Holy Symbol.

Since Christ embraced the Cross

His image,

Would

And
It

have

itself,

it

all

dare I

image of His Cross, deny %


profit

by the

sacrifice.

dare the chosen Altar to despise

bore

That

th'

other sins

but

is it fit

should bear the sin of scorning

it %

Who from the picture would avert his eye.


How should he fly His pains Who there did
From me no pulpit, nor misgrounded law,
Nor scandal taken, shall this Cross withdraw.
It shall not,

Of

this

nor

it

cannot

Cross were to

me

for the loss

another Cross.

die

against

Symbolism.

Christian

64

Better were worse

No cross, were so
Who can blot out

for

To

can deny

stretch

Swim, and

affliction,

the Cross which th' instrument

Of God dewed on him

Who

no

extreme as to have none.

Sacrament

in the

me power and

hberty

mine arms, and mine own Cross


at every stroke

to be

my Cross.
whom seas do toss.

thou

art

The mast and yard are theirs


Look down thou seest our crosses in small things.
Look up thou seest birds fly on crossed wings.' " *
;

So fond of the Cross were the


expended considerable ingenuity

in

early artists, that they

developing monograms

of the Saviour's name, in which the sacred symbol should

This they did with more or

appear.

be seen
which

in the

is

concluding portion of the present chapter,

devoted to

monograms found

The

the

consideration

in

of

the

various

in Christian art.

Cross, as a symbol of Christ,

be equal

less success, as will

is

acknowledged to

Importance to His other symbol, the Lamb,

or the symbol of the

Holy Ghost, the Dove.

It Is

In

Christian iconography as frequently an Impersonation of

Christ as

His symbol.

where God the Father


Spirit as a

In representations of the Trinity


is

Dove, Christ

depicted as a man, and the


Is

at times

imaged by the Cross

alone.
* Cited in

Holy

Neal and Webb's Preface to " Durandus."

The

Varieties

The

"HE

Varieties

forms which

the

65

assumes

Cross

the

Cross.

the Cross.

of

Yet, numerous

countless.

nearly

of

they

as

are

are,

almost

they are

based upon two principal types, known as the

all

Greek and the

Latin.

Those which may not

be classed under the

correctly

two types just mentioned are the Anticipatory Cross and


the Ecclesiastical Crosses.

The

Anticipatory,

as

or,

is

it

sometimes termed, the

Cross of the Old Testament, consists of three limbs only.


(Fig.

Plate IV.)

3,

In art

is

it

generally confined to the

representations of the lifting up of the brazen serpent by

Moses

in the wilderness.

Cross,

being

suffered.

It

a
is

It

type of

that

likewise called

on

which

the

Tau Cross from

exact resemblance to the Greek letter

Cross of Saint Anthony.*

the Typical

also called

is

In heraldry

it

our

Saviour
its

and again the


is

termed the

Cross Potent.
* In

the

influenced

Greek

pictures,

by Greek

monkish garb, bear the

and

traditions,
letter

in

the

on the

the

schools

figures
left

of

of

art

particularly

Anthony, besides the

shoulder, or

on the cope

it

Symbolism.

Clwistian

66

The
in

number, and are distinguished from

all

others

by the number of

The most

verse beams.

the

accompanying

The

lesser has

branches (Fig.

to

the

while

(Fig.

5).

two beams forming four


4,

Plate

These

IV.).

medium

as

Pope alone being

the

distinction;

triple,

important has

woodcut

used

are

Crosses

Fig. 5.

their trans-

forming six arms, as shown in

three,

hierarchical

Crosses are two

Ecclesiastical

and

Cardinals

of

entitled

Archbishops

are

honoured with the double Cross.

The

latter

in Greece,

form appears to have been

where

it

imply

The name
being

much,

as

introduced

was very generally adopted, doubtless

as a sign of distinction.

would

first

it

bears in heraldry

termed the

Patriarchal

Cross.

is

In Revelation

always blue.

xiv.

from the earth, bear the name of


foreheads

the

Anthony and

first

his

they which follow

the

the

who

Lamb

Theos,

before

God,

the

" Sacred and Legendary Art," vol.

ii.

their

is

These were

mouth was found no

throne of God."
p. 749.

T, and

" For these are

whithersoever he goeth.
in

redeemed

are

Father written on their

are represented bearing the T.

redeemed from among men, and


they are without fault

the elect,

Greek word

letter of the

monks

i,

God

Mrs.

guile, for

Jameson's

The

We

now

cipal

types,

with

four

The

return

type

grouped.

includes

those

limbs

equal,

their

all

prin-

Crosses

all

may be

limbs

have

two

to the

and can be circumscribed by a


(Woodcut, Fig.

The

^1

Cross.

the

of

under which

Greek

which

Varieties

circle

Fig. 6.

6).

Latin type comprehends those

with four unequal limbs, two only of

which touch a
the

of

centre

Fig-

from

described

circle

(Woodcut,

junction

7)-

The

suffered

shape

on

Cross

actual

Cross

Latin

and

which

Saviour

our

in its simple,

the

unadorned

called the Calvary Cross.

is

it

represents

Fig.

It

7-

appears to have

been most generally adopted by the Latins or Western


Christians,

who were more

material in sentiment than the

Christians of the East.

The Greeks
Cross,

Nearly

by equalizing

and,

rendered
all

departed from the shape of the original

it

more

the

the Greek type

its

suitable

limbs,

for

idealized

ornamental

it,

and

purposes.

Crosses used as heraldic charges are of


;

and the same remark holds good with


G

68

Christian

regard to decorative

are

four limbs,

termed

The

art.

Latin

type

is,

compara-

seldom used.

tively speaking,

The

Symbolism.

arms,

its

Those of the Latin

members of the Greek

or

all

being

of

Cross,

importance.

equal

Cross, however, have different names.

The lower member

is

termed the summit

and the two side members are called

the arms.
different

The

examples.

should

together,

the

the

In

be

the upper

is

members vary

proportions of the four

the foot

all

termed the foot

in

a properly formed Latin Cross

longer than

arms added

the two

summit should be the shortest member of

and the arms should be equal

to

one another.

All

members of both a Latin and Greek Cross should

be of equal thickness (Plate IV., Figs,

The
found

and

5).

following are the principal varieties of the Cross

in Christian

The Tau

and Heraldic
Papal

Cross,

art.

Cross,

Patriarchal

Cross,

Calvary Cross, and the plain Greek Cross have already

been described.

The

Cross of Suffering (Plate IV., Fig.

2) is

a Latin

Cross, with pointed members.


St.

Andrew's Cross

type, although

it

to that type.

Its

is

is

properly included in the Greek

not formed in the manner

common

arms are equal, but they do not join

The
at right angles, or

Varieties

Cross.

69

Crosses (Plate IV., Fig.

name from being

its

the

occupy vertical and horizontal positions

like those of all other

derives

of

of St. Andrew's martyrdom.

It

6).

supposed instrument

the

In heraldry

it

is

termed

the Cross Saltire.

The

Maltese Cross (Fig.

resembling
Cross
the

is

fishes'

name

borne by the Knights

This

centre.

the eight-pointed Cross, but

anything

is

has four spreading arms,

joined in a small

tails,

frequently termed

latter

7)

but

expressive.

Hospitallers, or

It

Knights of

was
St.

John, and the Knights Templars.

The

Cross Patee

Cross, although there

the Maltese

between them (Plate


of the

very frequently confounded with

is

may

Patee

a great difference

The

IV,, Fig. 13).

either

is

radiating lines

be straight or curved

as

in

the illustration.

The
its

Cross Botonee (Fig. 8) has the extremities of

ornamented

arms

termed the Cross

The
by

balls

Cross
or

ornamental

The

Cross

tremities of

its

It

trefoils.

is

sometimes

Trefflee.

Pommee

circles.

art,

with

(Fig. 9) has its

This

Cross

is

arms terminated
seldom

used

in

being chiefly confined to heraldry.


Moline, shown in

Fig.

arms divided

two curved members.

into

10,

has the

ex-

Symbolism.

Christian

yo

This

a pleasing variety of the Cross, although

is

seldom used

The

comparison with the two which follow.

in

Cross Fleurie (Fig.

beautiful forms of the Cross,

rence in

triple-leaved terminations.

of Plate

are

is

Cross

is

Greek

of the

most

of very frequent occur-

where they

extremities,

their

and

one of the

is

arms are

Its

and of the same breadth, except

usually quite straight,


at

ii)

departments of Christian Art.

all

is

it

The

into

graceful

large Cross in the centre

Both our

Fleurie.

type,

burst

but this variety

illustrations

frequently

is

found in the Latin form.

The

Cross Patonce

arms terminate,

arms of the

shown

Patonce

when
but

latter

in Fig.
is

not straight,

are

however,

Cross, but curved,

Its

like

the

and spreading as

In the opinion of many, the Cross

12.

the most beautiful variety of the symbol, and

of a small

when

another beautiful variety.

like those of the Cross Fleurie, in three

They

members.

is

large,

size
its

it

may

justly

proportions

be considered so;

render

it

heavy and

unsatisfactory.

The

Cross Patonce

is

found in both the Greek and

the Greek, however,

is

the most pleasing,

and should be generally adopted

in

preference to the

Latin types

Latin form.

PLATE

IV.

**4h
10

15

14.

li

12

16

m^^^^jtie^mm

Symbolism

The
Crosses.

of

Cross Potent (Fig.


It is principally

the

Cross.

formed of four Tau

is

14)

71

used in heraldry.

The Cross Potent Rebated

(Fig.

another

is

15)

heraldic Cross.

The
the
It

Cross

symbol,

Crosslet

very

is

variety

beautiful

and one very frequently adopted

composed of four Latin Crosses joined

is

It invariably

assumes the Greek form (Fig.

There are numerous other

enumerated

are not of

much importance

to

art.

together.

16).

Crosses

varieties of

fering slightly from those just

in

of

dif-

but as they

the student of Christian

Symbolism, being purely heraldic, we

feel

that

it

is

not

necessary to allude to them here.*

Symbolism

of

the

Cross.

A LTHOUGH all the forms which the Cross assumes


^ ^ are to be looked upon as symbols of our Blessed
they must also be accepted as demonstrative of

Lord,

They

are to be found in

all

complete works on Heraldry.

Symbolism.

Christian

72

Him

special facts connected with

The

Cross

the acknowledged

is

Christian Faith throughout

The

or

all

"

His holy

mark

religion."

or sign of

the

the world.

forms to which distinct and separate symbolic

meanings are attached are not numerous

the following

are the most important and expressive.

The

Anticipatory Cross

of the symbol used in art

while

all

it

it

has only three members,

This

the

and renders

value,

its

fact,

an expres-

it

Old Testament Dispensation or the

sign of the

Law

the only imperfect form

other Crosses have four or more.

however, gives
sive

is

complete Cross setting forth

the

Gospel of

Christ.

The

connexion with

where
our

sufferings

Crucifixion.

time

Saviour,

although

have Introduced

artists

Lord's

our

should never be

Cross

Anticipatory

when

in

their

It

as

used

instances

in

occur

the instrument of

representations

of

the

Their pictures, however, were painted at

symbolism

was

neglected

and

misun-

derstood.

The

plain

Latin Cross, supposed to be the form of

that on which our Saviour suffered,

Calvary Cross, ^nd

is

employed

of Christ, or the Atonement.

is

usually called the

to symbolize the Passion

This being the original

Symbolism
form from which
it

may be

of

the

Cross.

73

the numerous Crosses have sprung,

all

considered the most suitable to symbolize our

Lord Himself
Five red marks or jewels are sometimes placed on

These are intended

the face of the Cross.

wounds received by our Saviour,

the five

His

feet,

and His

Latin Cross,

having

instead of plain square,

and

is

understood to

the

fact

that

its

Plate VI.).

i,

members pointed

four

termed the Cross of Suffering,

is

set

forth the

awful

sorrow and

Lord and His death of agony.

sufferings of our

This form

His hands.

in

In addition to these the crown

side.

of thorns frequently appears (Fig.

The

to allude to

comparatively seldom used in

is

the

eye

prefers

to

art,

from

symbols

contemplate

which have a tendency to originate pleasing thoughts


in

the

and

mind,

shuns

those which

create

sadness

and sorrow.

The

plain

Greek Cross, although

with propriety to symbolize Christ,

it

is

to express the Religion of the Cross

may be adopted

usually understood

to

be the emblem

of Christianity.

The Greek

Cross

does not speak so


of

His Religion.

is

much

As

the

Latin form idealized, and

of Christ and His

the four arms

Death

extend equally

as
in

four

different

extend

When

so does

directions,

Latin type

Christianity,

generally shown,

is

it

steps, as

shown

employed as the emblem

is

ground and standing

the

and west.

north, south, east,

the

Gospel of Christ

the

over the four quarters of

equally

blessings

its

the world

of

Symbolism.

Christian

74

erect,

woodcut

in the

8).

In the former instance

Religion

the

that

on the earth

upward

to heaven,

arms abroad

the latter
the

Fig.

The

the largest,

is

The middle

step

The Maltese
the

is

it

which the Cross

as

which

step,

Scripture that

same

and that
over

firmly

points

it

it

spreads

men.

all

of the

Cross

foundation

triple

us

is

In
itself,

reared

the

triple

foundation of Faith, Hope, and Charity.

lower

and which

that

is

teaches us that, like

Religion

upon

8.

it

tells

it

of Christ

planted

its

in

upon three

or placed
(Fig.

fixed

either

is
is

rests
is

firmly

Charity

upon
for

the

we

earth,

are told in

the greatest of the Christian virtues.

Hope, and the upper


firmly

is

Faith,

in

embedded.

Cross and the Cross Crosslet signify the

simple Greek Cross.

The

Cross Crosslet

extending four crosses instead of four plain arms

may

Symbolism

be understood

Cross.

the

of

express in a more

to

75

manner

forcible

the universality of Christianity.

The

Potent, which

Cross

formed

is

Crosses held on the arms of a Greek

understood

allude

to

of

Testament Dispensation by the Gospel of

The

Cross Saltire

emblem of martyrdom, but more


of

Andrew he
the

and humility.

suffering

emblem which

in

as an

art

frequently as an

emblem

In representations

of

St.

shown leaning upon or holding

usually

is

Old

the

Christ.

sometimes used

is

may be

Cross,

the displacement of

to

Tau

four

represents the instrument on which

he suffered death.

When
death

of

St.

Andrew was condemned

crucifixion,

requested to

he,

be nailed

neglecting

Thus

the

likeness

of

Cross, which

become the emblem


generally plain, as

more

intended

2.

life,

suffered, in true humility

of

shown

Redeemers

his

bears

St.

in

Fig.
to

crucifixion.

Andrew's name, has

humility in

particularly

members may be pointed


in Fig.

pray for

even in his martyrdom, unworthy to

believing himself,

the

to

a cross of a different form

to

from that upon which Christ

approach

die the awful

to

6,

suffering.

Plate

express

as those of the

IV.

It

is

but

if

suffering,

its

Latin Cross

Christian

76

Sy^nbolism.

we have

All the forms of the symbol of which

just

spoken are of a severe and unornamental character as


befits

them,

alluding

Redeemer,

our

of

sufferings

they do

as

or

the sorrows and

to

Christianity

to

We

under the iron hand of persecution.

while

have now to

which are intended to express

describe those symbols

Religion of the Cross, glorious and trium-

religion, the

phant, growing like a goodly tree, and spreading abroad

branches to the comfort of

its

The

Figs.

three Crosses,

and the one

in

arms bursting

into ornament,

centre

the

of

forth Christianity full

and

triumphant

life

who

all

ii,

lo,

of

seek their shelter.

and

Plate

Plate IV.,

12,

having

I.,

their

have been devised to

and

over sin and

fruit-yielding

persecution

set

glorious

loved

and

cherished upon the earth.

The
here

devices

of

Christian

artists

have not stopped

they have gone farther in their desire to express

the glory and triumph of the Cross, and have elaborated


the

sacred

symbol

They have carved


wrought
it

it

in

silver

one

into
it

in

mass of

spotless

still

ivory

they

have

and gold, and they have studded

with costly jewels, or coloured

and,

ornament.

rich

it

with

brilliant

not content, they have wreathed

lands of lovely flowers.

Instead of a

"

it

enamels,

with gar-

crown of thorns"

Symbolism
they have decked

it

placed

centre

As

it

the

in

Christianity

and goodly

made

to the

of a

fountain

diadem, and have


of glittering

circle

of

human thoughts and

remind us

sun,

which

that

celestial

'jj

that

all

that,

as

the

centre

of

bright

is

have

a material

animated creation looks

all

our souls must look for light and


is

rays.

actions, artists

Cross Triumphant the centre of

the

glory, to

in

with the

the

is

Cross.

the

of

all

spiritual

life

radiance,

to

the

Cross of our Lord Jesus Christ.

Monograms of
IV T

^ ^

UMEROUS

the

Saviour s Name.

monograms

have been devised by

the early Christian artists to express or set forth

the sacred names of our Blessed Lord

been adopted and held


throughout

all

its

in

and they have

great favour by the Church

ages.

At

.monograms of our Saviour's

the

name

present

are

day

the

more frequently

used than any of the other Christian symbols, perhaps


with the exception of the Cross.
In

almost

all

the

various

monograms the form of

the Cross

indeed

is

The

introduced with more or less distinctness

monogram with which we

earliest

(XPISTO^) by
(XP.)

name

of

of

first

in Fig.

monogram

this

are acquainted

CHRIST

the use of the two

combined together, as

Examples

2,

have

They

are found

in

on the

Plate V.
found,

second cen-

on

carved

rude

fresco,

walls.

Several forms of the

from

of that

been

the catacombs,

the tombs of the Christians, or painted, in

Greek

in

letters

supposed to be of a date as early as the


tury.

such should be the case.

that which expresses the

name

'

appears to have been an important point with

it

artists that

is

Symbolism.

Christian

78

each

monogram

Eight

other.

exist, differing slightly

varieties

are

shown

on

Plate V.
Fig. 2 represents the
said

to

be the sign

Heavens

while,

most common form, and

which

it

is

Constantine beheld in the

on the eve of

his

great

battle

with

Maxentius, he lay pondering on the chances and effects


of the coming

strife,

rule the world,

The

unto

him,

it

he

to

decide

fire,

who was

to

legend says, that a vision appeared

and the heavens opened and

sign written in

with

which was

displayed the

with an inscription informing him that

should

conquer.

The

Emperor

at

once

PLATE

D
n

V,

Monograms

and caused the monogram

arose

and carried

his banners

monogram on

the sacred

Another form

added

is

The A and

in

represented in Fig.

is

member

afterwards

remembrance

shown

Fig. 4 shows a variety


with,

In

preceding.

it

monogram

sets

forth

the

first

XPISTOS).

and

this

monogram which

the

of

the

is

omitted

is

and

the

letter

This form of the sacred

X.

name

letters

of

that

CHRIST

Fig. 5

is

by the

use

of

added

a Cross.

to

Fig.

the

initial

(IH^OTS

Greek

in

another form of the


is

they

for while

by combining the

name

which a horizontal bar

purpose of presenting

name, the present form

of that

holy

and P

JESUS CHRIST

of

the X.

of

here.

consist of the

only express

two

member

more complete and expressive than those

is

forms which

the

of the P

the loop

although not so frequently as the

coupled with the

is

where the X

frequently associated with

1 are

sometimes met

3,

upright and the other

upright

the

to

the previous form, as

letters

He

and,

making a Greek Cross

horizontal,

{Iota)

be wrought upon

to

his coins.

placed with one

is

{Rho)

Christ,

79

dehverance from defeat and death, he stamped

of his

{Chi)

Na^ne.

the battle.

to

embraced the rehgion of

in

Saviour s

the

of

is

monogram
for

the

similar

8o

Symbolism.

Christian

monogram, with the further addition of the loop of the


P

one of the arms of the

to

Fig. 7

with

same form

the

is

of

addition

the

X.

Latin

the

generally understood to signify the

monogram
"

thus signifies,

as

XRISTOS NOSTER,"

understood as expressing

We

shown

as that

letter

3,

N,

which

is

by M. Didron,

which by extension may be

"

Our Lord

Jesus Christ."*

sometimes find the above forms of the mono-

gram enclosed

in

which were doubtless added

circles,

express the perfect nature of Christ or His

to

existence (Figs. 8 and


It

connexion

which

with

explains

described monogram,

Greek

" These

viz.,

that

peculiarity

be

to

monograms

the

all

M. Didron

this subject

the

eternal

9).

somewhat surprising

is

* In
note,

The

word noster.

stated

is

Fig.

in

gives

the

observed in

following
the

last

the union of a Latin letter with others purely

monograms were

of

Greek

origin,

but the

Latins

did not abandon them, or modify them according to the form of the

Roman

letters,

mosaics,

the

letters

until a very late

IC, XC, and MP,

in use in this

was written
two

Latin,

The

eif.

down

country

to the

alpha and

present day.

Greek, the third and fourth

and the two


is

In the catacombs and early

omega have continued


The name of Christ

in Latin at Chartres, in the thirteenth century

letters are

sigma

period.

m.onograms of Christ and of the Virgin are in Greek

omitted.

last

are

exclusively

Latin,

Here the monogram of Christ

of the adjective, noster^

is

Latin."

but the

first

might be either Greek or

XPITVS.
is

The

first

Greek, while that

" Christian Iconography," p. 394.

Monograms
our

of

Saviour's

name

origin

and

they have been adopted and freely used


Latin

the

retained

they

Church,

their

have,

forms

original

81

have been devised

which

Greek

Christian artists are of

Name.

Saviours

the

of

that,

although

In all

ages by

most

the

for

by-

or arrangement,

part,

and

in

cases their original signification.

all

We

have alluded

to those

composed of the two

are

CHRIST,
Initials

and

of the

combined

monograms which

early

letters of

first

which

the

also

to

those

name

of

JESUS CHRIST,

Into single figures.

describe those which

It

display

now remains

name
the

united

of

two
or

for us to

partake more of the character of

contractions than monograms.


It

was very usual

for the

letters

of those

names

together,

traction placed over them,

the

and

{lotci)

and C

last letters

CHRIST,
letters

of

the

of

first

set forth

and

last

fc stood for

JESUS,

(the ancient Sigma), being the first

IHCOYC;

XPICTOC.

the

thus

to

with the sign of con-

and, again,

X {Chi) and C being the

on Plate VI., Figs.

On

artists

by using the

names of our Lord

the

Greek

XC
first

stood for

and

last

These contractions are shown


and

3.

same Plate are shown

monogram now most commonly

two forms of the

used.

This monogram

is

Symbolism.

Christian

82

of

the

same nature as those

speaking,

rightly

gracefully

When

wrought
it

Western

the

intersect the

(Fig.

7).

form, as a contrac-

original

its

often

is

it

has the sign of contraction placed over

have altered the

artists

letters into those in

retaining

monogram

into a

appears in

tion, it usually

(Fig. 4).

although

contraction,

described, being,

last

Greek

use in their country and time, and,

have made

they

of contraction,

sign

original

upper member of the

|)

and by

{Eta),

in

all

cases

is

7).

simply the two

name

first

JESUS

letters

and the

Greek

(IHcrouC), the other three letters being omitted.

letter

last

The monogram

is

of

commonly

the Jirst three letters of the

an

incorrect

name

of

idea,

CHRIST

above (XC, Fig.


XPC, which
letter

of

(Fig.

5).

for

2),

are

name

when

appears

of

stated

to

but this

the
in

consist

it

is

of

obviously

is

contraction
art,

in

the

for

either

as

or consisting of three letters, namely

the

XP/o-roC,

the

it

this

simple means form the beloved Cross (Figs. 6 and

The monogram

it

the

two

first

letters

remaining

Both these contractions

four
(in

and the
being

Greek

final

left

out

art)

fre-

quently appear in the same composition side by side,


as

in

our

Plate,

and read

they are both contracted

in

"JESUS CHRIST:"
the

same manner.

and

PLATE

IC

IHC

VI

xc

XPC

CHAPTER
Emblems of

IV.

A V N G,

in

as

Emblems
and the

of the

it

is

fixion

forth

our Lord's Agony,

Symbols and

of our

describe

to
in

the

Christian Art

Betrayal,

and Cruci-

His glorious Resurrection and Ascension.

Emblems of

as

our intention, in

Chapter,

Emblems which have been adopted


set

manner

Monograms

various

present

Ascension.

and of the Cross

of God,

Saviour's name,

the

concise

treated

possible,

to

and

the Passion, Resurrection,

NDER

the

the head of the

are included

all

Passion.

Emblems

of the

Passion

those which speak of our Saviour's

Agony

authority for

When
Agony

Lord's

its

is

Christ,

the

it

should

or issuing from

shown

form

Agony

as

used

in

Suffering

painted

VH.,

in Plate

it

is

Agony

in

be Introduced.
figurative

on

its

side,

Fig.

i.

The

wrongly used,

may

here

our Saviour's

of

representations

Agony by

Garden, the Cup should by no means

the

in

actual

Calvary

We

being borne by the Ministering Angel.

the

signify

to

have

either

the

derived.

is

art

Gaudenzio Ferrari, f where, however,

remark that

direct

in

depicted In a painting of the

Is

we

with which

doubtless

used

of

latter

of the

own words,* from whence

Cross or the Cross


it,

Betrayal

the hands

in

adoption as an emblem

Cup

the

of

of

Cup,

is

our

to

His

Death upon the Cross.

Emblem

only

acquainted,

allusion

Gethsemane

of

His Sufferings while

and His

Soldiers,

The

Garden

the

In

by Judas;

are

Symbolism.

Christian

84

It

is

only a

literal

interpretation of the

words of our Lord, and as such should only

be used alone and as an emblem.

The Emblems

of the Betrayal are eight in

namely, the Sword, the Club, the


* St. Matt.
St.

John

xviii.

xxvi.

39, 42.

St.

Mark

xiv.

number;

Lantern, the Torch,

36.

St.

Luke

11.

t Engraved in

"The

History of our Lord/'

vol.

ii.

p.

29.

xxii.

42.

Emblems
the

Ear,

the

Head

of

Rope, the

the

Passion.

the

Thirty

Pieces

85

of

and

Silver,

of Judas.

All these are derived from the different descriptions


of the

Betrayal

be found

to

and

In Plate VII,, Figs, 2

the

in

Gospels,

shown the most

are

3,

important of the above emblems arranged on shields.

The emblems
Sufferings

while

number

namely,

the

Rope,

Pilate),

the

bound),

the Scourge,

the

VII.,

Pillar

(to

which

in

by

(used
Jesus

was

Purple Robe, the

or

Scarlet

seven

are

Ewer

and

Reed.

emblems are shown

in

Plate

Figs. 4 and 5,

We

sometimes

introduced
to

and

the

groups of these

Hall

Basin

the

Crown of Thorns, and

Two

Common

the

in

Condemnation

Lord's

our

of

with

above

the

Peter's denial,

a cock

find

it

emblems which are

the act of crowing,

in

but

as

it

alludes

directly

cannot rightly be classed with the


particularly connected with

Christ's

sufferings.

Of

all

emblems

the

of

the

Passion,

those which

speak of our Lord's Death are the most important.


principal

as

emblem

we have

chapter

to

of the Crucifixion

already

its

devoted

description,

the

is

the Cross, which,

greater

we need

The

not

part

again

of

dwell

86

Symbolism.

Christian

The

upon.

number),

emblems

other

Hammer,

the

Sponge and

Reed,

the

the

Nails

the

are

the

Spear,

in

Ladder,

the

Inscription,*

the

the

Pincers,

(three

Seamless Garment, and the three Dice.

Three
Plate

groups

VII.,

The

Figs.

Pelican

sometimes

is

blood for the good of

The Brazen

such,

as an

used

emblem

of

shedding

depicted

is

its

young, which cluster around

its

Serpent

was frequently adopted

And

the Crucifixion.

upon

raised

in

Tau Cross

the

mediaeval times to set forth

the other Old

our Saviour, the slaying of the

of

on

feed upon the precious drops.

to

it

shown

are

8.

7,

and as

Crucifixion,

the

6,

emblems

these

of

Testament types

Lamb and

Paschal

the marking of the doors of the houses with

and the

of

Sacrifice

Isaac,

its

blood,

were also adopted as em-

blems of Christ's Death upon the Cross.


In a page of the
the

14th

fixion

occupying

The

inscription

the cross,

when used

we

century,

I.N.R.I.

Judicdnim,

The

the

find

centre,

Pauperum,"

a work of

drawing

the

and

of

on

the

Cruci-

right

which was placed over our Lord's head upon


as

letters

JESUS OF

" Biblia

an emblem, appears as four


are

the

initials

of

lesus

letters,

thus

Nazarmiis

NAZARETH THE KING OF THE

Rex

JEWS.

PLATE

VII

Emblems
of

representation

the

the

the

Emblems of the

-^

87

Brazen

the

Serpent

a representation of

left

up of Isaac*

offering

A S
^

of

raising

the Wilderness, and on

in

Resurrection.

the

of

Resurrectioit.

might be expected, the early Christian Artists did


not

fail

to

adopt some objects from the world

around them, to

set forth the fact of our Lord's Resur-

rection from the

Dead

incomplete

without

its

That

it

if

and Symbolism would indeed be

the doctrine of the Resurrection remained

appropriate emblems.

was found a

difficult

task to find expressive

emblems we cannot doubt, seeing

that those which were

adopted derived the qualities that

images principally from


of mere statements
to

fitted

fables, or beliefs

made by

those

them

to act as

held on the faith

who were understood

be learned.

The emblems most

generally accepted

are the Lion,

the Phoenix, the Peacock, and the Pelican.


*

An

Lord,"

engraving

vol.

i.

p.

28.

of

this

page

is

given

in

" Tlie

History of our

Symbolism.

Christian

88

The Lion was adopted

because

was

it

statement of the old naturalists, that


dead, or

in

was always born

a state of complete torpor, having

appearance of death
it

it

believed, on the

but

was endowed with

that, in

or

life

all

the

the space of three days,

awakened

to vitality

breath, the tongue, or the roaring voice of

by the

its sire.

In an ancient stained glass window in the Cathedral of


Bourges, where a representation of the Resurrection of
Christ

is

depicted, the fable of the Lion

along with three other images of the event

is

introduced

the

Raising

of the Daughter of Jairus, the Fable of the Pelican, and

The Lion

the Deliverance of Jonah from the Whale.

shown breathing upon the


on the ground as

words

"

if

dead

cub, which lies


:

back

its

underneath are inscribed the

LEO FORM."

The Phoenix was adopted

as a Christian

very early period, representations of


in the

upon

is

Catacombs.

The

it

emblem

at a

having been found

ancient fable, which stated that

the Phcenix, after having been burned to death, rose again


in life

and vigour from

accepted as an

its

emblem

ashes, doubtless caused

it

to

be

of the Resurrection of our Lord,

and as an image of the great doctrine of the Resurrection


of the

Body from the Dead.

The Peacock was adopted

in

early

times

as

an

Emblem

The

emblem of the
its

beautiful

Resurrection,

because

yearly renewed

was commonly believed

it

The

incorruptible flesh.

use of the Peacock with

to

have

its tail

an emblem of Pride and Worldly Pomp,

fully displayed, as

an introduction of a later age.

The
emblem
or as

Pelican,

although

it

is

generally accepted as an

of the Blood-shedding of Christ

brought

its

young

to

life

own

opinion

that

it

Its

belief that

it

breast caused

and the other and more

merely fed

blood, inclined artists to use

and His great

The

by the blood of

adoption in the latter case

common

upon the Cross,

Himself,* has at times been

a figure of Christ

used to set forth the Resurrection.

its

it

89

plumage, and sometimes as an emblem of

Immortality, because

is

Ascension.

the

of

It

Its

young with

its

as a figure of Christ

sacrifice for us.

The Emblem of the Ascension.

THE

only

emblem

with which

we

of the

Ascension of our Lord

are acquainted

depicted in the act of flying upwards.


* See

p.

40, ante.

is

the Eagle, usually

Christian

90

We

meet with several instances of the use of

emblem, but

it

is

by no means so common

those previously spoken


representations

In

Symbolism.

was usual

alone

art as

of.

of the scene of the Ascension

it

to introduce only the feet of the Saviour, the

upper portion of His body being


position.

in

this

In

some cases

indicating

artists

of

the com-

have shown

foot-prints

left

out

where the Saviour stood previous

to

His Ascension.

The Ascension

has also been set forth by types taken

from the Old Testament

Enoch and the Bearing

to

these were the Translation of

Heaven

of Elijah in the fiery

chariot.

In the

" Biblia

Pauperum

along with the Ascension.

"

these types are depicted

CHAPTER

V.

Symbols of Baptism and the Eucharist.

S might be expected, Christian

artists

have not passed over the Holy Mysteries

without finding some objects by

which they might be

and

boHcally,

minds

of

ever

the

set forth

sym-

kept before the

unlearned

Christian

worshippers.

As
we

early as the days of the

find

the

represented.

The most

Christians,

indicating

baptized into the

which

frequent

upon

appears

in

Catacombs

in the

Holy Sacrament of Baptism symbolically

frequently

element

Church

that

the

symbol

tombs

they

who

of

is

the

fish

it

departed

are buried

were

Church of Christ by water, the only


fish

can

exist.

Symbolism.

Christian

92

From

these early times, and throughout the whole of

the Middle Ages, the Fish retained

its

signification

and

continued to be used.

Sometimes three
a triangular fashion

fishes

were represented entwined

in

doubtless this was intended to sym-

bolize Baptism under the immediate sanction

and blessing

of the Divine Trinity (woodcut Fig,

9).

Representations

seldom found

in

nevertheless,

are,

the

although

Baptism,

of

rite

of

early

art,

very

fre-

quent in that of later ages

P^s- 9-

Trinity

represented

portraitures)

for

and

it

the

Three

is

not unusual to find

Persons

the purpose

of

of

the

by symbols or

present (either

as

indicating

that

which

the early artists expressed more effectively and becomingly

by the adoption of the three


of

them

fishes

and the arrangement

in the triangular form.

Baptism has frequently been


from the Old Testament.

We

set forth

find in

representation of the Passage of the


of the holy mystery.

by types taken

the Catacombs a

Red

Sea, as a type

This type was retained and very

Symbols

and

of Baptism

used during the

frequently

the

E^icharist.

Middle Ages.

duced alongside of the Baptism of Christ

It

is

93
intro-

in the " Biblia

Pauperum."

The passage

of

the

Israelites

through

the

river

Jordan, and the vessel of brass, and the washing practised

by the Jews

entering

before

the

Temple

are

other types that were used in mediaeval times.

Although the symbolical representations of Baptism


are rare in
are

still

The

art,

more

symbol

ment

so.

early symbol, as

consists of a
crosses,

those which allude to the Holy Eucharist

find

it

in

the Catacombs,

cup with three small loaves, marked with

placed at
is

we

mouth.

its

Later

in

art

the

same

used, although slightly altered in general treat-

(Plate VII.,

Fig.

the wafer issuing from

it,

9),

appearing as a chalice with

and marked with the monogram

or a cross.

representation of a small

and bread, marked with a


to set forth the Sacrament,

cross,

altar
is

bearing a chalice
at times

employed

W^gw?
^m^^n

nH|R|
i^^^^l m^i
KH^^^^mli

^Sl

^^^1
di'MM^s^ngm
|(|^ Si l^^l

SM

CHAPTER
Symbols and Emblems of

VI.

and

Evangelists

the

the

Apostles.

jyawB*^law^HiyMpq

|^W*B ^^n^^

the

earliest

ages

of

the

Christian

Church symbols were very frequently

m
^A P

used to represent the four Evangelists

and

\m^

from

those

times

until

the

pre-

sent day they have been retained and

^^^^^

held

in

great favour and

respect

by

Christian artists.

Few, indeed, are the works of any importance of the


Mediaeval period, in which the Evangelistic symbols are
not in

some manner introduced,

either

by the hand of

the carver, the painter, the glass-worker, the enameller,


the

metal-worker,

copies of the

or

the

embroiderer.

In illuminated

Gospels they usually formed appropriate

Symbols

and

Evangelists

the

of

Apostles.

95

enrichments,* and they again appeared on the rich and


characteristic bindings of those precious volumes.

On

and other ornamental crosses they

processional

frequently terminated the four members, while a symbol

Lord occupied the centre or point of

or figure of our
junction.

In almost

the

all

of

portraitures

the

Evangelists

executed during the early and middle ages, their symbols

were associated with

them

for

the

purpose

of

indi-

vidualizing them.f

The

earliest

and most primitive symbols of the four

Evangelists with

found
four

in the

we

which

Catacombs

Open Books, and

are

namely,

acquainted

in

those

Scrolls, the

four

the

The

the four Rivers.

books are precisely the same

are

scrolls

and

setting forth the

idea,

Evangelists by their writings, the four Holy Gospels.

beautiful specimen, from a painting in the Catacombs, is

* Interesting
circles,

drawings

of

are to be found in the

the
"

Evangelistic

Book of

symbols,

Kells," a

enclosed in

MS. preserved

in

Trinity College, Dublin.

t In the

" Gospels

of

St.

Cuthbert,"

beautiful MS., preserved in the British


tures of the

Evangelists

proper symbol.
nimbus.

occur.

Each of the

or

the

Museum,

"

Durham Book," a

four interesting minia-

Each Evangelist

is

attended by his

creatures bears a book,

and wears the

Christian

96

shown

In the

Symbolism.

accompanying woodcut (Fig.

The

lo).

four

books, enclosed in circular aureoles, are placed between


the arms of a Greek Cross,

which spread
mities as

if

The whole

at their extreto

clasp

them.

surrounded by

is

a circle symbolical of eternity.

The

Cross

sets

forth

our

Blessed Lord, and the open

Books the four Evangelists.


Fiz.

An

lo.

this beautiful

group

is

ornamental treatment of

depicted in

names of the Evangelists

Plate

I.,

where the

are written on their respective

volumes.

The

symbolic rivers were very frequently depicted by

the early

artists,

Catacombs we
small

both in sculptures and mosaics.

find the four rivers

shown

issuing from a

mount on which a lamb, invested with the

nimbus, stands.

The Lamb

In the

inscribed

symbolizes our blessed Lord

the Mount, the Church of Christ, the Mountain of God's

House

The

and the Rivers, the four Evangelists.


four rivers of Paradise, Gihon, Tigris, Euphrates,

and Pison, which were divided

to

irrigate the garden,

evidently supplied the typical streams

under which the

Symbols

of the

Evangelists and their

and

Evangelists

Holy

Gospels

Apostles.

are

streams of love and mercy ever flowing

97

figured

the

through and

refreshing the garden of the Church on Earth.

Symbolism represents
St.

Mark by

St.

Matthew by the

the river Tigris,

St.

river Glhon,

Luke by

the river

Euphrates, and St. John by the river PIson.

In the mosaics of the early churches the symbolic


streams are frequently to be met with.
the Tribune of

St.

flowing rivers are

bears aloft a

John Lateran,

shown

large

In a mosaic In

Rome, the

in

a mount which

issuing from

ornamented

four

symbol of

the

cross,

Christ.

The symbols
frequently
in

met

of

with,

favour with

the

Evangelists

which

are

most

and which have ever been most

Christian

.artists,

are

the

four

winged

living creatures.

They

.are

the winged

Man, the winged Lion, the

winged Ox, and the Eagle, and are taken from the Vision
of Ezekiel and the Revelation of St. John.

At what

date these mysterious creatures were adopted

to symbolize the Evangelists


to

Is

uncertain

but they appear

have been used at a very early period,

for the

most

part collectively and with a general application.

About the

5th century they began to appear in art

98

Christian

Symbolism.

separately and individualized, and from

used without intermission


carrying with

it

beautiful within

The

until

Symbolism and

Christian art died out,


all

true

and

range.

its

gave

to artists authority for the appropriation

of the four creatures to the Evangelists.

was given the creature

commences
;

was

else that

writings of St. Jerome, in the beginning of the

5 th century,

Christ

were

that time

his holy

is

St.

likeness,

Matthew

because he

Gospel with the human generation of

human

nature

more dwelt upon than the

divine.

The

was given

to St.

Mark,

and because

of our Lord

human

in

To

in

his writings

creature in the form of a Lion

the

because, in his Gospel, he sets forth the royal dignity of

our Lord, and His power manifested in His Resurrection

from the Dead.

Mark

St.

dwells upon the Resurrection

of Christ and thereby claims the Lion, which, as

we have

before shown, was accepted in early times as a symbol of

He

the Resurrection.

also

mission of John the Baptist.


in

the wilderness,"

whose roaring voice

is
is

in

his

"

The

voice of one crying

appropriately figured

by the Lion,

heard in wilds and deserts.

creature in the form of an

because,

opens his Gospel with the

Gospel, he

Ox

was given

particularly

The

to St. Luke,

dwells on

Atonement and the Priesthood of our Lord.

the

The Ox,

Symbols
the beast of
also the

The
St.

sacrifice,

fitly

atonement

and

Evangelists

the

of

Apostles.

99

sets forth the sacred office

for sin

by

and

blood.

creature in the form of an Eagle

John, because, as the Eagle soars on

high towards heaven, he soared in the

was given

to

powerful wings

its

spirit

upwards

to

the heaven of heavens to contemplate the Divine nature


of Christ and to bring back to earth revelations of sublime

and awful mysteries.

The above
symbols are

particulars

relative

The

the 12th century.

Rev.

J.

M. Neale, we

Hymns and

the

in the

distinctly set forth

" Jucundare, plebs fidelis," written


in

to

by

Evangelistic

beautiful

Adam

of St. Victor

following translation

transcribe

from his

Children
Faithful

Heavenly Father,

of a

people,

joy,

That the Prophet's

From
John

ye gather,

Vision draw.

Ezekiel's

that

the rather
lore

Prophet's witness

sharing,

In the Apocalypse declaring,


'

This I write, true record bearing

Of

"Round

the

the

things

Throne,

tmly

saw.'

'midst

Angel natures

Stand four holy Living Creatures,

Whose

of features

diversity

Maketh good

the
I

Seer's

plan

;,

by the

"Mediaeval

Sequences."
"

hymn,

lOO

Symbolism.

Christian

This an Eagle's visage knoweth

That a Lion's image showeth

on the

Scripture

The
" These

Of

are

the

Who

rest

Matthew

And the
From

and Mark the second

these

is

rightly

loved Apostle,
his

nets

For that thus he

Lord,

that

man

rites

Of Mosaic law
Mark

And

the

wilds

beckoned

supplieth,

none denieth

man He made

Luke 's the ox, in form


As a creature sacrificial,
For that he the

testifieth

spring from

to

reckoned

and Zebedee.

"Matthew's form the

"

mystic

from sea to sea

first,

Luke with

the

S5anbols

the

they,

Church, with streams majestic,

the

Him

Ox and Man,

forms Evangehstic,

Irrigate

Of

bestoweth

twin forms of

as

propitial,

judicial

displayed.

lion

the desert hearing

shaketh.

quaketh,

Preparation while he maketh

That the heart with God be


John,

love's

right

double wing devising,

Earth on eagle plumes despising.

To

his

God and Lord

Soars away in purer

uprising
light.

"Symbols quadriform uniting


They of Christ are thus inditing

Symbols

and

Evangelists

the

of

Quadriform His

acts,

Apostles.

which writing

They produce before our eyes


Man, Whose birth man's law obeyeth

Whom

Ox,

Lion,

when

"These
Round

on death

soaring

Eagle,

the

to

He

slayeth

preyeth

the skies.

creature forms

ethereal

majesty imperial

the

Seen by prophets
Difference

Wheels are
Scripture

passion

victim's

the visions

wings

rolling,

lore

Step with

but material

'twixt

signifying

this

flying,

complying.

wheels,

as

step,

springs.

are

Contemplation by the wings.

" Paradise

satiated.

is

Blossoms,

thrives,

With the waters

From

these

fcecundated.

is

irrigated

rills

that

Christ the

fountain,

Christ the

source,

Of

the

To

aye proceed

they the

river,

and they the giver

streams that they deliver

supply His people's need.

" In these

streams

That more

fully

our souls bedewing.

we ensuing

Thirst of goodness and renewing,

Thirst

We

more

their

From

fully

may

allay:

holy doctrine follow

the gulf that gapes to

And from
To the

pleasures
joys

vain

swallow,

and hollow

of heavenly

Day."

loi

I02

Symbolism.

Christian

The

order

enumerated

and

sixth

in

which the Evangelistic symbols are

above

Poem

although

not

the

in

verses),

the

(in

fourth,

same as

the

fifth,

that

in

which the Evangelistic writings are arranged according


to the canon,

As

is

the order

in art.

the four symbols are considered, apart from their

allusion

the

to

Evangelists,

great events in the

the

commonly adopted

to

be typical of the four

of our Lord, viz. the Incarnation,

life

Passion, the Resurrection, and the Ascension, they

are generally arranged


events, thus

Winged Man.

Evangelist.

St.

Event.

Incarnation.

square

the

proper

order

those

of

Symbol.

When

in

Matthew.

Winged Ox.
St.

Luke.

Passion.

Winged Lion.
St.

Mark.

Resurrection.

Eagle.
St.

John.

Ascension.

the symbols are placed at the corners of a

or

parallelogram,

monumental

brass,

such

as

an

altar

frontal,

or a book-cover, they are most

perly arranged in the following order

Winged Man.

Eagle.

Winged Lion.

Winged Ox.

pro'--

Symbols

When

of

the

Evangelists

and

Apostles.

103

they are depicted at the extremities of the four

members of a

cross, in

which a figure, symbol, or monogram

of our Lord, occupies the centre, they

arranged as in the accompanying

may

properly be

figure.

Eagle.

Winged
Man.

Winged

\\t.

Lion.

Winged
Ox.

This arrangement, however,

on the

artist, for

examples.

is

by no means binding

considerable, difference exists in ancient

I04

The symbols on
Minden

of

Symbolism.

Christian

the great crucifix in the Cathedral

are placed thus

Eagle.

Figure
of our
Lord.

Winged
Lion.

Winged
Ox.

Winged
Man.

The

Crucifix,* just alluded to,

is

of rather too late a

date to act as an important authority, yet


that artists

it

serves to

show

have never positively decided upon the correct

position or arrangement of the Evangelistic

the most important of

all

symbols on

objects which admit of their use,

the Cross.
*

drawing of

this Crucifix is

Middle Ages," by Statz

&

given in " Gothic Architecture of the

Ungewitter, Plate 192.

Symbols

and

Evangelists

the

of

Apostles.

105

Several different forms of the mystical creatures have

been devised by the early and mediaeval

Those

artists.

which display the entire forms of the Man, the Lion,


the Ox, and the Eagle,

appear

nimbus,

the

while

Man

is

been

most

representations

Ox,

Lion,

the

have

to

some

In

adopted.

winged and invested with

all

of

and Eagle are

the set enamelled on the knop of

preserved in the church of

St.

the

fully

This

depicted as a half-figure.

is

6, 7, 8,

and

symbols,

shown, the
the case in

a beautiful chalice

Maurice, at Hildesheim.*

Outline drawings of this set are ^iven in


Figs.

frequently

Plate

VI IL

9.

The symbols

are frequently to be

met with formed of

the heads of the mystical creatures on bodies, or halfbodies, in the

human

shape, as

on Plate VIII. Figs.

2, 3,

shown

and

4,

5,

in the four

drawings

which are taken from

the wonderful bronze Font in the Cathedral of Hildesheim.


* Illustrated in "

The Study-book

by Thomas H. King.
+ Our

illustrations

the Font given in


Art,"
scribe

Vol.
are

King's

ii.

of Mediaeval Architecture and Art,"

Plate 70.

taken

from

the

interesting

engravings

which also contains the following complete description.


it

here, believing that, as

mediaeval

artists to

to our readers

"It

is

of

"Study-book of Mediaeval Architecture and

it

illustrates the great attention

Christian symbolism,

it

will

We

tran-

paid by

not be without interest

both wrought upon the true principles of metal-work, and

06

At

Symbolism.

Christian

we

other times

symbols comprising only the

find the

heads and wings of the four creatures.


In

cases the heads of the mystic animals should be

all

designed with the highest religious sentiment, as embodied in the sym-

bohsm which distinguished the age when these masterpieces were achieved.
The basin is circular in form, and rests on a cylindrical column,
Four kneeling figures, holding in their
sustained by four eagle's claws.
hands an urn, from which escapes a stream of water, support the basin

These

underneath.

which watered the

figures represent the four rivers

Qarden of Eden, and which the Fathers have always regarded


That there might be no mistake as

of this Sacrament.

the under rim of the basin

^
^

Above

inscribed with the following Latin verses

is

iTOotans". ^Ijison

jmperiem
beloi

J<

(Est

JFrugifct

eon

SCigris

and

est

terrae

(iHupfjrates

this inscription,

as figurative

to this symbolism,

pruUmti

ieltgnat

quo

fortis

est

justitia

stmulatus.

fjiatus.

signtficatur
.

que

notatur.

precisely over the heads of the four figures,

in farther illustration of the idea, the four cardinal virtues are t)^ified

Prudence

medalHons.

in four allegorical

is

a label bearing the following motto,

Temperance
is

is

CHstote

woman

represented as a

crowned, holding in her right hand a book and in her

left

pruticntes

a serpent, with
sctpentes

sieut

represented by a figure holding a vase, from which water

escaping, with the motto,

mne

tulit

punctum

qui

miseuit

utile

JJulei

Fortitude appears under the fonn of a warrior in steel armour, armed with

sword and
is

And

On

shield.

the legend,
Justice

Uir
is

qui

the shield are the arms of the


.

Kominatur

shown under the

bandaged, holding a balance.


rnnia

in

Above

mensura

et

pontere

anitno

sua

familiar

forttor

Donor

est

on a

eipugnatore

scroll
urbis

image of a crowned female,

The legend on
pono

her scroll runs thus,

these medallions are four foliated ogee arches on slender shafts,

holding in the spandrils four medallions of the greater prophets, each with

Symbols

of

invested with

the

frequently find

We
on

we read

the bust of Isaiah

popuU

Ezekiel

tribus

.Stmtlitulia

ammalium

the

in

spaces

of the

2^cgttal)tt

et

rci

et

et

fjic

spandrils

CHgwlJtctur

saptms

linguae

et

in

populum

speritus

BaijiU

patui

The

suum

sancta

ejus

iflne

John

eorum .

St.

raitce

St.

^iit

Maxia

that of

The remainder

Mark

illi

factum

3fst

faos

JBominus

bapttjafiit
.

sctfem

est

by the following

occupied

patia

on the one

The Donor
.

plena

aJKilbernus

J<

l^oc

side

spe

ecclesia

Bat

suseipe

In the second, the passage of the

is

on the

kneeling in front holding the scroll

is

iienise

iecus

with the

Gothard,

St.

with these verses over

enthroned,

sitting

is

all

lauBique
CTljriste

Israelites

ilHaris
pie-

through the

Red

This and the two other subjects are emblematical of baptism.

Sea.

Here

represented with the rod with which he smote the water in

one hand, and the two tables of the law

may be

observed,

that this

occurred to the modern


is

%te&t

emblems of the
Matthew Jpse salijum .

abit

are

Virgin

Blessed

the

first,

Stephen.

other

it

and on

eorum.

the

Moses

we

on that of Daniel

He

servient.;

earo

St.

St.

Luke

"Bttbum

Divine Infant in her arms

art

occupied by the

is

peccatts

et

St.

late

birgo

crit

aspictus

spaces within the four ogees

subjects

In

ipst

Evangelists, also with mottoes, as follows


factet

in

107

find the four creatures united together

nimbus, but

Apostles.

omitted.

it

that of Jeremiah

mncs

and

Evangelists

plain

sometimes

On

a motto.

the

artist,

In passing,

in the other.

anachronism, which would never have


great

gives

very characteristic of the period.

vigour to the design, and

Behind the law-giver are a group

of twelve personages, with vases, charged with the spoil of the Egyptians.

The

archivolt above bears the following inscription

Per

mare

Pet

Cfjristum

per

mogscn
labatljro

fugit

fugimus

CFggptum
.

tcnebras

genus

fjorum.

biciorum.

Symbolism.

Christian

io8

and forming one mysterious being,

The drawing

with four heads and numerous wings.

In the

Baptism of our Lord in the

third, the

and the Eternal Father above

diction,

and

At the

right of our Saviour stands the

in the

angels as acolytes

bapttjatur

pjic

i^obis

In the

and on the

fourth,

bapttsma

quo

trifaums

in

flamine

The whole
these verses

Sosue

faitam

Kuce
te

flumcn

Ci^rtsma

tiatuor

J<

Uirtutcs

J<

ra

?^EEc

Canaan through

the

followed by

transit

fontc

fiaboeus

Drus

on which are engraved

cover

rata

^araftisi

rigant

propljctarum

is

trrorant

que

quae

scriptorcs

flumina

totiUcm
.

cor

baticinata

efaangElii

munttum

crimine

fucrunt

cecincrunt

muntium

i^

hung from the roof of the Church by a counterweight,


On a band round the part which fits

into the font are the lines


lEuntiat
$3\t

a chain passing over a pulley.

KtUcttts

by two

his lance,

encircled above with a band,

is

the Covenant, and each holding

iuce

in bene-

i<

The

atr

mms

sancttficatur

In the archivolt the words

patriam

way with

Ark of

hand
.

words

archivolt are the

pointing the

is

a stone in his hand.

gucimur

films

Baptist, his robe held

Cfjristus
.

the twelve priests carrying the

laB

est

the passage of the Israelites into

is

Joshua

river Jordan.

'^xt

poised over

is

raises his right

bears the words,

left,

Our Lord

river Jordan.

The holy dove

standing up to the middle in water.

his head,

given

VIII. represents the Tetramorph as

in the centre of Plate

is

Tetramorph,

called the

^ost

juste
.

ut
.

labat

CEriminc

immunBa

fusus
.

attracta

fceiatis

sacri

sanguis
.

baptismatis

labac|}vi

lacljrgmis

labac^rum

fit

confcssio

opus

unUa

tenet

usus
facta

pictatis

PLATE

VIII

Symbols

rendered in Greek art


in

principal figure

or

Apostles.

taken from a Byzantine Mosaic

it is

refer to the remission of sins, first in Baptism,

Above

in the

divided into four compartments,

is

corresponding with the four divisions of the font

In the

hood by

first

is

On

tribes.

the

Moses, with a
these words

shown

On

^ropl^ctatn

the inscription

an

hand and a

suscitafait

Aaron's rod,

altar,

Aaron, with an ewer in his hand

left is

are

blossom above the rods of the other

in

staff in his right

They

of Aaron's supremacy in the priest-

the affirmation

is

shafts.

the miracle of the budding rod.

of the tribe of Levi,

These com-

itself.

partments are similarly formed of foliated arches or


with the following subjects

whether by water

Sacrament of Penance.

cover

this inscription the

The

Man, the three heads of the

that of the

is

by blood, and afterwards

filled

109

Convent of Vatopedi, on Mount Athos.*

the

which

and

Evangelists

the

of

Ue

label in his

filiis

bcstris

On

on the

which

left,

right is

carries

the archivolt

is

Utrga

fatget

In the second

flore

parit

alma

rcgmte

putiorc

the Massacre of the Innocents.

is

King Herod

is

represented sitting on a throne, and giving orders for the massacre;

a drawn sword

is

held by an attendant by his

the head of an

cutting off

complete the picture.

heart,

Ijolor

In the third
is

sitting at

is St.

table

and a mother with a

Above

is

ortrntat

the inscription

cruor

Mary Magdalene

qualis

on a
et

in his

scroll

quK

est

* Our drawing

cruUclc

executioner
child at her

crucntat

Our Saviour

at the feet of Jesus.

between Lazarus and Simon the Pharisee, with the

The words

penitent wiping His feet with her hair.


written

An

side.

infant,

tnultn

is

hand
.

quae

?t?ic

tangit

si
.

reset

turn.

of the Pharisee are

^ropijcta

scirct

Our Lord's words

copied from one in the valuable

Didron, to which we have frequently directed attention.

uti'quc

are in

work by M.

no

Christian

Symbolism.

other creatures apppearing from behind,

and

six large

wings covered with eyes are arranged round the heads and

body of the Man, whose

across the

wheels which are also winged.

feet

on

rest

fiery

All the heads are invested

with plain nimbi.


manner inscribed on the

like

peccota

multa

On

5pe

the archivolt

rtfictt

pectus

which he holds

label

the inscription

is

lail^rgmis

In the fourth, the Six Works of Mercy.


ing Mercy,

flmte

^2^tmittuntur

rcfcctus

crowned

supposed to be giving drink to the

is

ei

figure, represent-

feeding the

thirsty,

hungry, entertaining the stranger, clothing the naked, attending the sick,

and

the prisoner

visiting

The

appropriate figure.
the Six

Works of Mercy

Matthew, xxv.
mihi

Hospes

bibere

hifirmus

the legend

is

The

faeniant

JHorcs

For Jeremiah
filios

Nudiis

me

operuistis

et

ad

venistis

et

Above

me.

per

opts

tnopcm

miscrcri

by the busts of Solomon, Jeremiah, David,

Udi

met
in

fructus

i^ama

ijonovis

auiita

et

ijonEStatis

ploratus

et

ululatus

a^arfjclis

nobis

suos.

.
:

finmum

The
*

eram

carcere

St.

Sitivi et dedistis

pane

ffl;tbaJjlt

nos

^iFrange

esurienti

lacfjrgmarum

et

potum

Bclitt

ladjrgmis.

For
in

Isaiah

For David
in

each bearing a motto.

For Solomon

me

coUegistis

scclert

spandrils are occupied

Isaiah,

plorantts

et

hi

His Parable,

in

iSat

and

me

represented by an

is

omitted; but these are

is

mihi matiducare

et dedistis

erain

visitastis

et

dead

by our Lord

referred to

Esurivi

each of which states

burial of the

panem

tuum

et

egcnos

bagosquc

inSuc

tnam

cover terminates above in a knot of foliage of exquisite beauty

The

execution

thirteenth century."

dates

probably from

the

latter

half

of the

Symbols

of

the

and

Envangelists

Apostles.

1 1

In the earliest ages of the Church, the Twelve Apostles


of our

Lord were symbolically represented as twelve

sheep.

These usually had a lamb

in their midst, which,

being invested with a nimbus and sometimes elevated above


them, was evidently intended to symbolize Christ.

Our

Saviour was at times represented among the sheep as a

shepherd (the Good Shepherd) bearing a lamb


Artists

next represented the Apostles

as

in his arms.

twelve

men

attended by twelve sheep, associating the symbol with the


portraiture, as

was frequently done

the Evangelists,

Still

in representations of

later the Apostles

were depicted

as twelve venerable men, without the sheep, but bearing

books or

scrolls

in

their

hands

to set forth their sacred

mission as teachers of the truths of Christianity, as bearers


of the written Gospel of Jesus Christ.

Towards the

latter part of

the sixth century,

it

became

usual for artists to represent the Apostles with particular

emblems or
derived

from

attributes

in

their

hands.

These, being

circumstances or events in their lives or

martyrdoms, supplied the means of readily distinguishing


or individualizing them whether depicted together or apart.

These emblems,

as well as being used in connexion

with the portraitures of the Apostles, were very frequently


depicted alone in the same manner as other emblems or

Symbolism.

Chris tiafi

112

For

symbols.

Keys

instance, the

Sword

of St. Peter, the

of St. Paul, and the Cross of St. Andrew.


It

Twelve, because that was their

the

speak of

usual, in alluding to the Apostles, to

is

Lord was upon

number while our


number

earth, although afterwards their

increased.

We

together in

when

that

find

while their number

art,

same persons are not

made from

thirteen

to the

Peter, St.

Paul,

St.

John,

Thomas,

St.

Bartholomew,

St.

Matthias.

When
is

St.

St.

in

Andrew,

left

are omitted.
to omit St.
to

find this

St.

as

Matthew,

St.

It

Simon,

out to admit St. Paul.

St.

Philip,

St. Jude,

list,

St.

and

Jude

In cases where

Simon and

St.

Matthias

appears to have been usual in Greek art

James the Less,

insert

follows

James the Great,

James the Less,

St.

the Evangelists are depicted, St.

and

order

twelve are selected from the above

commonly

being

canon of the Mass, the Apostles are

St.

St.

always twelve, the

list.

number, and stand

in

is

in all cases depicted, selection

the extended

According

Apostles are represented

the

St.

Paul,

St.

arrangement noted

St.

Jude, and St. Matthias,

Luke, and

in the "

St.

Guide de

Mark.

We

la Peinture,"

the Greek manual on painting published by M. Didron.

Symbols

On

Apostles.

a pulpit preserved in the Cathedral of Troyes the

Apostles are arranged thus


St.

Mark,

St.

Thomas,

St.

and

Evangelists

the

of

John.

Paul,

St.

We

formula.*

Simon,

St.

This

St.

is

^St.

Peter,
St.

Matthew,
Luke,

St.

Philip,

Andrew,

St.

Bartholomew,

St.

James,

purely in accordance with the Greek

accordingly find the

arrangements to stand as follows

Latin

and Greek

Greek.

Latin.
St.

Peter.

St.

Matthew.

St.

Paul.

St.

Philip.

St.

Andrew.

St.

Mark.

St.

James the Great.

St.

Paul.

St.

John.

St.

Peter.

St.

Thomas.

St.

Luke.

St.

Andrew.

St.

St.

James the Less.

St.

Philip.

St.

Thomas.

St.

Bartholomew.

St.

Simon.

St.

Matthew.

St.

Bartholomew.

St.

Simon.

St.

James the Great.

St.

Matthias.

St.

John.

The emblems

of St.

Peter are the

* For the matter regarding the arrangement,


Apostles

we

are

indebted

to

Mrs.

Legendary Art."

Keys derived
&c.,

Jameson's valuable

of the Twelve
" Sacred and

Symbolism.

Christian

114

from our Lord's words to that apostle

"

unto thee the keys of the kingdom of Heaven

whatsoever thou shalt bind


in

heaven

earth

and whatsoever thou

be loosed

shall

on

heaven."

in

very early art one key

is

loose on

Matt. xvi.

(St,

and

be bound

shall

shalt

give

will

earth

In

29.)

sometimes found represented

the hand of St. Peter, but the most usual

number

in

two,

is

supposed to symbolize the key of heaven

and the key of

As many

hell.

have been used, symbolizing,


the keys

the
(Fig.

11),

keys

the

Apostle,

When

world.

this

Fig. II.

of heaven and

as three

in addition to

hell,

the key of

used as emblems of

be

should

two

in

number

one represented as of gold and the other as

of silver.

The

emblem of

usual

instrument

He
in

in

he

rarely

may remark

their

martyrdom

his

one hand and a book

Apostles are represented

books

a sword,

was beheaded near Rome.

Very

We

swords.

of

is

(Fig.
St.

the
12).

Paul

frequently depicted bearing the sword

is

Fig, 12.

Paul

St.

that
in

is

in

the

other.

shown bearing two

most generally when the

art,

they are depicted with

hands as well as with

their

emblems.

Symbols

The books

are

and

the Evangelists

of

them

given

attributes

Apostles.

as

teachers

of

the Gospel.

The well-known

Andrew

Cross of St.

universally given to that Apostle (Fig.


is

as

the

emblem

Plate IV.).

He

believed to have suffered death upon a cross of that form,

we have

The
(Fig.

already mentioned in a previous chapter.*

emblems of

usual

pilgrim's

to

6,

is

The

13).

and an

scrip,

staff,

St.

staff

and

James the Great are a

escalop-shell

scrip are given

him as emblems because he was the

first

of the Apostles to go forth to foreign

lands to

the

fulfil

sacred

The

mission.

Fig-

13-

escalop-shell is generally supposed to allude to the countless pilgrimages

which were made

to his celebrated shrine

at Compostella.

The emblem

of St. John,

with a serpent issuing from

The

of

it

(Fig.

Apostle,

is

a cup

14).

legend states that on one occasion the

chalice

was

it

as an

which

John was about

St.

secretly poisoned,

having

use

and that he drank

and administered

the poison

to

it

without injury,

miraculously issued

form of a serpent.
*

On

the Cross

see p. 75, ante.

Fig.

from

it

14

in

the

ii6

Symbolism.

Christian

The

emblem

usual

or square (Fig.

a builder's rule

is

but sometimes he bears the instru-

15),

ment of

He

Thomas

of St.

martyrdom, a lance or javelin.

his

stated

is

have been martyred

to

in

India by being transfixed with numerous

and

darts,
Fig.

15.

The

^ lance.
-

first

emblem

mentioned

through

originated

When

we

Thomas was

St.

appeared to him and said

appears

and

beautiful

regarding St. Thomas, which


"

run through the body with

finally

legend

popular

transcribe here

at

The
'

have

to

Lord

our

Cesarea,

king of the

Indies,

Gondoforus, hath sent his provost Abanes to seek for

workmen

who

shall

versed in

build

Emperor

of the

thee

well

to

him

for

of

the

science

Rome.

to build for

absent

for

instead

of

sures

went

two years
building

intrusted

to

into

palace,

him

went,

and

silver, for

distant

and

finer

than

that

will

send

Gondoforus

him a magnificent

and gave him much gold and


king

architecture,

Behold, now,

And Thomas

him.'

commanded him

The

palace

of

St.

country,

Thomas,

distributed

among

the

the

and when the king returned, he was

all

poor
full

palace,

purpose.

and

was

meanwhile,
the

and

trea-

sick;

of wrath, and

Symbols

he commanded that
into

cast

and

Evangelists

the

of

Thomas should be

St.

and he meditated

prison,

Apostles.

for

and

seized

him a

horrible

died,

and the

Meantime the brother of the king

death.

king resolved to erect for him a most magnificent tomb


but the dead man, after that he had
days, suddenly arose

king
of

'

showed

behold,
to

me

and precious

Thomas

have been

stones,

king Gondoforus.'

and they

said,

And when

'

and the angels

This
'

built

the

the

to

a servant

is

and

palace of gold

architect hath

the

torture

in Paradise,

a wondrous

dead four

and said

upright,

sat

The man whom thou wouldst

God

that

and

been

silver

the palace

is

thy brother,

for

king heard

these

words, he ran to the prison, and delivered the Apostle

and Thomas
those

said

who would

to

him,

'

Knowest thou

care for the things of this earth


rich palaces without

There are

king,

may

faith

prepare the

and

way

but they cannot follow thee

The emblem

of

in

that
little

heaven

number, which were prepared from

the beginning of the world for those


possession through

not

heavenly things, have

possess

St.

who purchase

Thy

charity.

for

thee

riches,

to such

the

a palace,

thither.' " *

James the Less

* Translated from the " Golden Legend

"

is

club

or

{Lcgcnda Aiura), and cited

in Mrs. Jameson's " Sacred and Legendary Art," vol.

i.

p.

246.

ii8

Symbolism.

Christian

instrument of his martyrdom (Fig.

bat, the

He

i6).

was

Jerusalem by being thrown

martyred in

from the top of the temple, but not being

Fig.

St.

6.

killed

by the

with a

fuller's

he was afterwards

fall,

slain

bat as he rose on his knees

to pray.

Philip usually bears

his

for

emblem a

cross

of

the Latin type, fastened to the top of a long staff or

reed (Fig.

Sometimes he

17).

is

repre-

sented with a plain Latin cross in his hands,

and

the top of a
p^g- 17-

X.Q

he

at others

have been

staff.

Tau

cross on

St. Philip is

supposed

carries a

crucified with his

head down-

wards, or to have been bound to a cross, and stoned to


death.

The emblem

universally given to St.

Bartholomew

is

the instrument of his fearful martyrdom, a large knife of


peculiar shape (Fig. 18).

supposed to have

been

He

is

flayed

generally
alive

by

order of a king of Armenia, and to have

died in horrid tortures.


Fig.

18.

this

Apostle always carries the

sometimes, in addition, he
skin over his arm.

In portraitures,

is

knife,

represented with a

and

human

Symbols

of

The emblem
the

him

dently been given to


his vocation

to

be uncertain.
death

natural

Greek

in

a purse of
evi-

by our

call

Matthew died appears

St.

allusion to

in

previous to his

How

Saviour.

is

This emblem has

(Fig. 19).

Apostles.

Matthew, when represented

of St.

capacity of an Apostle,

money

and

Evangelists

the

represent

artists

but Latin, or Western

Fig. 19.

him dying a

art,

shows him

dying the death of a martyr, either by the sword or


spear.
St.
is

Simon bears

commonly accepted

of his

martyrdom

manner of
he

are

large saw, which

the instrument

as

(Fig.

his death

suffered

emblem a

for his

The

20).

exact

and the place where

both

unknown.

It

is

generally supposed, however, that he was

sawn asunder, and


St.

Jude

Simon

(or

in

his

being killed

Fiz. 20.

that his death took place in

Thaddeus)
travels,

said

is

and

to

by a halberd.

Persia.

have attended

to

St.

have suffered with him,


St.

Jude's

emblem

is

halberd.

The
his

last

Apostle in our

emblem an axe

case in

portraitures,

(Fig.

21),

a spear.

list,

or,

St.

St.

as

Matthias, has for


is

sometimes the

Matthias taught the

Christian

T20

Gospel
to

in

Symbolism.

Judea, and

is

generally stated

have suffered martyrdom there

at the

hands of the Jews, who put him to death


with one of the above-named weapons, the
Fig.

21.

axe or the spear.

CHAPTER

VII.

Emblems and Attributes of

BL^S

^tS^k

enumerating the
butes

of

the

the

Saints.

emblems and

attri-

we

shall

Saints

lesser

^B .^mu

KN

\^b)!r

%i

B^o 1

L^^^

confine ourselves

Saints

An-

glican

Church, and take them in the

order

in

Calendar.

those

those of the

to

who have no

which

We

they
shall

stand

in

the

omit to mention

emblem

distinguishing

or

attribute.

^t. I^ilarg, Bishop, Confessor,

usually has for his

three

emblem

and

Doctor.

St.

three books, alluding to the

works which he wrote against Arianism.

times he

is

represented treading on

emblematic of the

false

posed and overthrew.

Hilary

doctrines

reptiles,

Some-

which are

and heresies he ex-

Symbolism.

Christian

22

bt.

Virgin and Martyr.

^n'sca,

St,

Prisca bears as

her emblem a sword, and in portraitures she


represented with a lion at her

up

bt.

is

after

jpabian,

at her feet

Bishop of

represented

generally

harming

her

her,

and licked them.

Rome and Martyr.


in

to

having been given

to the fury of a lion, which, instead of

humbly crouched

at times

Both allude

feet.

She was beheaded

martyrdom.

is

portraitures

Fabian

St.

bearing in his

hands a sword and a palm branch, and with a papal

crown upon

He

his head.

is

sometimes represented with

a book instead of a sword.


^t. ^gncs, Virgin

bute of St. Agnes

shown
holds.

and Martyr.

The emblem

a spotless lamb, which

is

at her feet, in her hand, or

She

therefore,

is

either

on a book which she

martyrdom by being beheaded, and

suffered

when she

or attri-

represented as a martyr, she bears

is

a sword and a palm branch.


^t. Uinctnt,

Deacon and Martyr.

martyrdom by being roasted over a


sharp iron bars

he has

for his

St.
fire

Vincent suffered

on a frame of

emblem the instrument

of his fearful death, and in portraitures he also bears a

palm branch.
^t. t3lasius, Bishop

blem of

this

Saint

is

and Martyr.
a large

The

sharp

peculiar

em-

comb,

the

iron

Emblems and Attributes of


instrument of his martyrdom.

times

surrounded

represented

allude to his long

life

the

Saints.

123

In portraitures he

is

at

by wild animals, which

of solitude.

In

it

it

said that

is

the very beasts of the wilderness became accustomed to

him and were


^t.

of

his companions.

Bishop of Rome,

CSfrtgorg,

the Church.

emblem, but

St.

Confessor,

and Doctor

Gregory the Great has no peculiar


he

in portraitures

is

represented as a Pope

with a book in his hand, and a dove on his shoulder.

The dove
he was
Sbt.

of St.

the symbol of the

is

Holy

by

Spirit,

whom

inspired.
1Elitoatt(,

King and Martyr.

Edward

traitures

he

invested with

in

usual

emblems

and a dagger, which

are a cup

carries

The

hands.

his

the usual insignia of

murdered by being stabbed

in

He

is

royalty.

in

also

por-

shown

He

was

the back while drinking

a cup of wine.
^t. t3mtltct, Abbot.

several

emblems

of purity of
to the

life

he

St.

carries

Benedict

is

represented with

an aspergillum, the emblem

a cup with a serpent in

it,

in allusion

cup of poisoned wine which was given to him

by some of

his

the legend which

monks

states

a broken cup,
that

when

poison was given to him, he blessed

in

the cup
it

allusion

to

containing

with the sign of

Symbolism.

Ch'istian

24

upon which

the cross,
sieve

a thorn-bush

burst

it

The

a broken

and a loaf of bread, broken, and

with a serpent crawHng from

by a raven.

pieces

into

loaf

it,

away

or being carried

of bread,

both

in

conditions,

alludes to another attempt to take St. Benedict's

by

life

poison.
Sbt.

St.

Bishop and Confessor.

H^ic^attJ,

Richard

The

emblem

a chalice containing wine, which

is

on the ground at his

This

feet.

is

is

of

placed

derived from the

legend which informs us that on an occasion, when the


Saint was about to administer the Eucharist, he
let

fell

and

the chalice drop from his hand, but without any of

the wine being spilled,

being preserved

it

in

a miracu-

lous manner.

Ambrose,

^t.

Church.
triple

Ambrose

St.

Confessor,
is

Emperor

of

his

emblem given

celebrated

Theodosius,

and Doctor of

for

to

him

excommunication

a cruel

on the inhabitants of Thessalonica.

portraitures he

is

tume, with

beehive

usually depicted in

near

while an infant and asleep, a


his

lips,

and

flew

him.

swarm

away again

full

It

in

of

and unmerciful

act of revenge

the

generally represented with a

scourge in his hand, an

commemoration
the

Bishop,

is

In

pontifical cos-

related

that

of bees alighted on

without

stinging

him.

Emblems and Attributes of

the Saints.

125

This peculiar event was supposed to prognosticate


future eloquence,

and doubtless originated

his

his attribute

the beehive.
^t.

^Ipfiegt,

Archbishop and Martyr.

bears for his

emblem

a battleaxe.

He

the instrument of his martyrdom

by being stoned

suffered at Canterbury

almost to death, and afterwards beheaded.


tures he

is

^t. George,

given

to

it

George

St.

it,

legend from which they are derived


that

we

consider

it

of

martyrdom.

dragon, a shield with a red cross upon

known

full

Martyr and Patron Saint of England.

The emblems commonly

sally

In portrai-

frequently depicted with his chasuble

stones, in allusion to the first part of his

The

Alphege

St.

and a

are a
spear.

so univer-

is

unnecessary to insert

here.

^t. JBunstan, Archbishop

and

Confessor.

St.

Dunstan

has for his emblem a harp and a pair of furnace tongs

the former was given to him because he was a talented

musician and an expert harpist

was one of the most

He

is

bury,

the

latter,

because he

metal-workers of his day.

said to have made, while Archbishop of Canter-

many

of the sacred vessels in use there.

^t. NiComJj, Priest


fered

skilful

and Martyr.

martyrdom by being beaten

St.

Nicomede

suf-

to death with a club

Symbolism.

Christian

126

spiked with iron

and he bears the instrument of

his

death as his emblem.


^t.

emblem of

St.

a sword.

He

and Martyr.

Archbishop

23on{face,

Boniface

was

is

slain

The

usual

a book pierced through with

by the sword, along with a

number of companions, while on a mission

to the

pagan

inhabitants of Friesland.
Sbt.

fered

^Iban, Proto-martyr of England.

martyrdom by being tortured

and then beheaded.

He

is

carries a
bt.

for her

tall

staff in

emblem a dragon, out

manner

one hand,

Sometimes he
cross.

St.

Margaret has

of the body of which she ap-

pears rising, or upon which she

with the shaft of a long cross.


is

in

the other.

Virgin and Martyr.

suf-

depicted with a

generally

palm branch instead of the long

iWargarct,

Alban

in a fearful

sword, the instrument of his martyrdom,

and a cross on a

St.

chained and helpless at her

is

standing and piercing

Sometimes the dragon


feet.

The emblem

is

derived from her legend, which informs us that she was


cast into a

deep dungeon, where the devil

in the

shape

of a dragon appeared, and endeavoured to frighten her

from her

faith

him with the


flight.

but she boldly resisted him, and striking


cross

she held in her hand, put him to

Another version of her legend

states

that

the

Emblems and Attributes of


dragon swallowed

When

again.

free

her,

Saints.

127

and immediately burst and

set her

the

she appears rising from

of the beast, the latter version of the legend

the

body

alluded

is

to.

^t

ilWarg

ilWagtJaUne.

Mary Magdalene

The

emblem of

peculiar

a box, or vase, which

is

the feet of our Saviour.

It

xi.

the

37),

and

and

2,

"

Mary," the

xii.

of Lazarus

sister

(St.

(St.

Luke
John

are one and

same person,
Deacon and Martyr.

^t. Uaurence,
St.

"sinner"

Mary Magdalene

and

3),

she anointed

has generally been believed

by the Western Church that the


vii.

supposed to

is

represent the box of ointment with which

St.

Laurence

martyrdom.

is

The

emblem of

a gridiron, the instrument of his fearful

He

was bound with chains upon a red-hot

frame of iron bars

over a slow

and

fire,

roasted

to

In portraitures he frequently carries a book as

death.

well as his emblem.

The emblem

large

enough

for

him

to

small

enough

for

him

to

suspended from his neck,

lean

hold

sometimes depicted

is

upon
in

after the

it,

his

and

at

others

hand, or to be

manner

of a pectoral

cross.
bt.

Church.

^ugustmf,

St,

Bishop,

Augustine

Confessor,
is

usually

and Doctor of
represented

the

without

Christian

128

any distinguishing

hand

his

attribute,

but he sometimes bears in

emblem, a

peculiar

his

Symbolism.

heart.

shown flaming or pierced with arrows


case

alludes

it

Christian

Faith,

and

in

either

is

the

former

burning love and zeal for the

his

to

It

the latter to the poignancy of

in

his repentance for his early sins.

^t. CSiUs,

Giles
its

Abbot and Confessor.

a hind,

is

head

The

generally depicted with

in his lap, as if

emblem
its

seeking protection.

of St.

fore feet or

The

legend

of the Saint informs us, that while St. Giles was living

the

of a hermit

life

France, he was fed by the milk

in

of the forest which

of a hind

lay near

cave

his

and

was discovered by a king of the Goths, who,

that he

having been hunting, followed the hind to the hermit's


cave,

where

it

sought refuge.

The

king treated the

Saint with great reverence, and ultimately built a mon-

on the

astery

made

St.

^t.
St.

spot

Giles the

ILambert,

Lambert

to

which

first

abbot.

the

him, and

hind led

Bishop and Martyr.

The

emblem

of

a javelin, or dart, the instrument of his

is

martyrdom.
^t.

Bprian,

Archbishop aitd Martyr.

emblem a sword.

usually bears

for

martyrdom

Carthage by being beheaded.

at

his

St.

Cyprian

He

suffered

Emblems and Attributes of


^t.

Jerome,

Church.

Priest,

The

usual

of

129

and Doctor of

Confessor,

emblem

Samts.

tlie

Jerome

St.

is

the
lion,

given to him as the emblem of solitude, and in allusion


to his

He

life

of retirement, contemplation, and lonely study.

sometimes

in his hands,

defender of the

and doctrines of the Church.

^t. iHemigius, Bishop.


is

model of a church

he was a great and learned

because
faith

carries a

dove,

with

an

The

emblem

oil-cruise

in

of St. Remigius

This

beak.

its

is

derived from his legend, which states that at the anointing of

King Clovis a

heaven

by a dove,

portraitures the

cruise

the

at

of

was brought from

oil

prayer of

dove with the cruise

the

is

Saint.

In

depicted flying

over his head.


^t.

Jpait]^,

emblem

Virgi^i

and Martyr. '^t. Faith has an

similar to that of St. Laurence,

At her martyrdom she was

a gridiron.

i.e.,

cruelly tortured

by being

half roasted, and then beheaded.


^t.

CS^rtspm,

Martyr.

St.

Crispin

St. Crispianus, the patron saints of

their

emblems two implements of

maker's awl and knife.

and

his

brother,

shoemakers, have for


their

These Saints

trade, a shoe-

are said to have

been shoemakers, and to have supplied the poor and


destitute

without charge.

Their legend adds that an


L

30

Christian

angel

supplied

them with

Symbolism.

leather

their

for

charitable

task,

^t.

Bishop and Confessor.

33ritfug,

emblem, unless

particular

carries

in

proved

charge

brought against him

of

false

in

hands or gar-

his

He

innocence

which

coals,

ment, can be considered as such.


his

no

Britius has

St.

burning

the

he frequently

portraitures

is

by carrying blazing

said to

have

which

was

coals

hands or his vestment without sustaining the

his

in

slightest

injury.

Hugh

Bishop and Confessor.

I^ugf),

Sbt.

is

The

emblem

of St.

a swan, which was given to him in allusion to

his love of solitude.


'^i, lEtinitintK,

martyrdom
torturing

at the

beheaded

His

Virgin and Martyr.

The

emblem

of St. Cecilia

she

stated

depicted

Edmund

him.

lastly

CECiIia,

is

St.

hands of the Danes, who,

group of arrows or short


bt.

suffered

after cruelly

him with whips, pierced him with numerous


and

arrows,

King and Martyr.

with

is

have

to

be the patroness of

is

darts.

most common

a small organ, which instrument


invented.

organ-pipes only

others with a harp.

emblem

She

is

in

She
her

is

sometimes

hands,

and

at

generally acknowledged to

ecclesiastical music.

Emblems and Attributes of

St.

Bishop a7id Mai^tyr.

CDIemcnt,

Sbt.

Clement

an

is

unwavering hope and

and

ning,

and

The universal

Catherine

St.

revolving

of

his

armed

a wheel

is

and

be tortured and cut

to

wheels,

was rescued from the

fearful

sharp

with

set

by

trial

light-

which came from heaven and broke the diabolical

instrument of torture

She was

tioners.

to

Ntcj^oIflS,

and

killed

taken

and

beheaded.

is

or of three golden

a group

in

instance of

doing good
his

charity

The usual emblem


purses of money,
said to

have

have

taken

great

the

poor.

One

Nicholas

and

to

and relieving
is

The

her behalf.

of three
St.

balls.

been a very wealthy man,


delight

in

Bishop and Confessor.

of St. Nicholas

the execu-

commemoration of the mira-

in

Heaven

culous interposition of
^t.

pieces,

then

wheel was given to her

is

particularly recorded

passing through a town at night,


to an

emblem

in the Gospel,

She was sentenced

between

blades, but

faith

and Martyr.

well-known emblem of

pieces

The

131

trust in Christ.

^t. attcrine, Virgin

to

Saints.

given to him in allusion to

anchor,

his great steadfastness

with knives.

the

when he was

he was
attracted

humble dwelling, from which proceeded the

of great distress.

was inhabited

The

by a

cries

Saint discovered that the place

destitute

L 2

nobleman and

his

three

Symbolism.

Christian

132

daughters, who, to save themselves from starvation, were


resolving

give themselves up to a

to

by

Saint, touched

their misery, visited their

nights in succession, and each

the

window a

of sin

life

bag of

large

the

house three

time dropped in through

which the father

gold, with

portioned his daughters, and secured for each of them an

honourable

emblem

alliance.

of the Saint

^t.

ILucg,

this alludes to

book

which

this

first

legend that the above

a sword, which pierces her neck

is

is

emblem

a pair of eyes carried on a dish


is

derived from a later legend,

states that she cut her eyes out

addresses, and

Lucy has three

St.

her martyrdom as described in the early

and sent them

who was importuning

a young nobleman

who complained

him night and day and


is

this

derived.

is

The second

legends.

from

Virghi and Martyr.

The

emblems.

or

It is

left

that

him no

her with his

her eyes haunted

The

peace.

a burning lamp, which she carries in her hand

emblem
which

is

in

generally supposed

Greek

(Xuxvj)

opinion that the second

wise to her name.

to

signifies

emblem

to

light.

Some

(the eyes)

this

are

of

alludes like-

probably given to

her because she was so bright and burning


Christ during a dark and pagan time.

third

her name,

allude

The lamp was

to

a light in

Emblems and Attributes of


^t. ^tepjb^n,

of

St.

hand

Stephen

Deacon and Proto-martyr.


is

but sometimes

stone,

he

is

which

He

if

The

he

carries

133

emblem
in

his

several

in the act of striking

was martyred by being stoned

recorded in the Acts of the Apostles.


his

Saints.

represented with

stones placed about his body, as

him.

the

He

to death as

is

also carries in

hand a book, which represents the Old Testament.

CHAPTER
Miscellaneous

|N

this,

treat
are,

our

VIII.

Symbols and Emblems.

concluding

chapter,

of those Symbols

intend

to

and Emblems which

according to the purpose and scale of this

work, not of sufficient importance to

little

we

demand lengthy

descriptions or to have separate chapters devoted to their


consideration.

Colours.

is

IT

artists

them

fact,

now

undisputed, that the early Christian

used colours symbolically, and that they applied

in their

works as symbols more than as mere decora-

Miscellaneous

tive

Symbols and Emblems.

mediums, and grouped them with reference

symbolic values, and not with regard to

35

to their

artistic effect only.

Rules were acknowledged for the application of colours


to symbols,

emblems, and sacred subjects and personages,

during the early and middle ages


the old

rules

its

remains)

its

but

in late art

we

find

time-honoured

aside, with all those

and traditions which gave

principles

give to

thrown

;*

to early art (and

still

great value and interest.

We give below the significations of the principal colours


and those usually found

WHITE,

the

first

in Christian art.

and most joyous of the canonical

used by the Church during Easter, Christmas,

colours,

and on the Circumcision and Epiphany of our Blessed

Lord

on the Feasts of the Blessed Virgin, and on the

Feasts of the Saints

emblem
light.

who were

not martyrs.

of purity, innocence, virginity,

The Angels and

Saints in

white at her Assumption.

is

faith, joy, life,

Heaven

the

and

are represented

In art the Virgin

as clad in robes of white.

White

Mary wears

White may properly be

repre-

sented by silver.

RED,

one of the canonical colours used by the Church

on the Exaltation of the Cross, the Invention of the Cross,

See " Guide de

la

Peinture Grecque,"

Didron.

36

Christian

Feasts of the

the

Pentecost,

Symbolism.

Martyrs, &c.

It

is

em-

blematical of the Passion of our Lord, and the sufferings

and the martyrdoms of His


love, power,

and royal

Saints.

and

dignity,

It signifies

divine

also blood, war,

and

suffering.

BLUE

is

emblematical of Heaven.

sincerity, godliness,

It signifies piety,

and divine contemplation.

Blue

is

not used by the Church for draperies or vestments, not

being one of the five colours


It

has been

much used

now

considered canonical.

for the decoration of ceilings, being

symbolical of the sky or heaven, where, to further support


the idea,

it is

generally studded with stars of gold.

YELLOW

(pure),

goodness of God,

on the contrary,
jealousy.

is

faith,

or gold, signifies brightness, the

and

fruitfulness.

Dingy

yellow,

symbolical of faithlessness, deceit, and

In art Judas

is

generally habited in garments

of a dirty yellow colour, in allusion to his crime.

GREEN,

one of the canonical

colours, is

used by the

Church on common Sundays and Ferias, or ordinary week


days.

It signifies bountifulness,

hope, mirth, youth, and

prosperity.

VIOLET,

one of the canonical colours used by the

Church on Septuagesima, Quinquagesima, Ash-Wednesday,


and during Lent, Holy Week, and Advent, except on the

Symbols and Emblems.

Miscellaneous

137

Feast days which occur in those seasons, &c.


signifies passion, suffering, sorrow, humility,

deep

Violet
love,

and

In art the martyrs are frequently clad in violet or

truth.

purple garments.

BLACK,

one of the canonical

the Church on
death,

Good Friday

darkness,

despair,

colours,

only.

used by

is

symbolical of

It is

mourning, and humi-

sorrow,

liation.

Precious Stones.

T T AVING spoken
^ now turn our

of the significations of colours,

-*-

attention

the precious

to

we

stones

which we likewise find were used as symbols by the


early

Christian

writings

Rennes,

for

artists.

instance,

who wrote

This
those of

during

the

proved

is

Marbodus,
opening

by

ancient

Bishop

years

of

of
the

twelfth century.

The Rev.

J,

M. Neale,

and Sequences," gives a

by Marbodus, and

his

"

Hymns

Mediaeval

beautiful translation of a "

also selections

* See Gives Codesiis Patriae, in


P- 57-

in

'

Prose"

from his commentary.*

Mediaeval

Hymns and

Seciuences,"

We

take the liberty of transcribing here a few

shall

of the verses of the

notes attending

of

poem and

a few passages from the

it.

DIAMOND,

the most beautiful,

stones,

light,

all

signifies

The diamond,

joy.

tion stones

of

Symbolism.

Christian

138

and precious

brilliant,

innocence,

purity,

life,

and

not being one of the twelve founda-

mentioned

in the

Apocalypse,*

is

not spoken

by Marbodus.

RUBY,

a stone of a bright red colour and of great

value, signifies divine


It is

power and

love, dignity

and

royalty.

not mentioned by Marbodus.

CARBUNCLE,

stone

colour, signifies blood

and

of

suffering.

deep red or bloodIt is

our Lord's Passion and of Martyrdom.

symbolical of

Five carbuncles

placed on the Cross symbolize the five wounds received

by

Christ.

SARDIUS,
to

Marbodus,

a stone of a purple-red colour, according

" signifies

the Martyrs,

who pour

blood for Christ."


"

The SARDIUS,

with

its

purple red

who have bled


The Martyr band, now blest above,
Sets forth their merits

That agonized

for Jesu's

Love."

* Chap. xxi. 19, 20.

forth their

Miscellaneous

SAPPHIRE,

Symbols and Emblems.

139

a beautiful blue-coloured stone, signifies

heaven, virtue, truth, constancy, heavenly love, and contemplation.

The

"

azure light of

Resembles that

SAPPHIRE

Celestial

stone

Throne

symbol of each simple heart

That grasps

Whose

And

life

in

hope the better part

each holy deed combines,

in the light of virtue shines."

In his commentary

Marbodus

of the colour of the sky.

It

says,

"The

signifies

Sapphire

them

that,

is

while

they be yet on earth, set their affections on things above,

and despise things

TOPAZ,

terrestrial."

stone

of a yellow colour,

goodness of God, love towards

Marbodus

faithfulness.

God and

over

trial

"It

the

fruitfulness,

and

who

love

signifies those

their neighbour."

EMERALD,
signifies

says,

God,

signifies

a stone of

hope

in

and

sin.

"

The

brilliant

green colour,

immortality, exalted faith, and victory

EMERALD

burns, intensely bright.

With radiance of an
This

is

olive light

the faith that highest shines.

No deed of charity decHnes,


And seeks no rest, and shuns no
In working out a holy

life."

strife,

Christian

140

AMETHYST,

Symbolism.

a stone of a violet or purple colour,

signifies earthly sufferings,

sorrow, deep love, and truth

unto death.
" Last in the

Holy City

With hue of glorious


Forth from the

set

violet,

AMETHYST

are rolled

Sparks crimson-bright, and flames of gold

The humble
That with

PEARL
have the

its

signifies

retiring spirit.

heart

it

signifies

dying Master dies."

purity, innocence,

humility,

and a

All stones of the grey colour of the pearl

significations

which are given to

this beautiful

gem.

The

precious stones of lower rank, and the richly-

coloured marbles, &c., which

mediums

in

nearly

all

may be adopted

as decorative

branches of Ecclesiastical

be used symbolically, having the same


the colours they present.

art,

can

significations as

and Emblems.

Miscellaneous Symbols

Miscellaneous Symbols

The

found in Christian art

and Emblems.

Emblems

following Symbols and

141

are frequently

and although they are not so

important as those spoken of in the previous chapters,

we

cannot draw our

treatise to a close without briefly

little

describing them.

ANCHOR. The
at

in Christian art

a very early period, being frequently found in the

catacombs.
tranquillity,

the symbol of steadfast hope, firmness,

It is

and patience.

^The

APE.^
sin,

Anchor was used

Ape,

malice, cunning,

Christian

in

and

art,

Satan

lust.

is

is

the

emblem

of

sometimes repre-

sented under the form of an ape.

APPLE. The
to the Fall of

Apple

Man, or

is

as the

ARROWS. Arrows,

generally used

emblem

in

of original

when not used

as

allusion

sin.

emblems of

martyrdom, are symbolic of suffering and pain.*

ASPERGE. The
sprinkling holy water,

Asperge, or instrument used for


the

is

emblem of

purity of

life

and

is

the

holiness.

BANNER. The
emblem

Banner,

in

Christian

art,

or sign of triumph over persecution and death.


* See

St.

Augustine,

p.

127, ante.

It

Symbolism.

Christian

142

variously ornamented, but most properly with the

is

cross.

BOOK. An

open Book

knowledge, or divine intelligence.


signifies partial or imperfect

book

in the

it

famous
the

is

closed

roll

{volumen)

knowledge.

hands of an evangelist or an

represents the Gospel


saint,

symbol of perfect

the

is

apostle,

but in the hands of an ordinary

a symbol or emblem signifying that he was

for his writings, or as a teacher of the truths of

The book

Gospel.

represents the

in

hands of

the

St.

Stephen

Old Testament, out of which he confuted

the doctors in the synagogue.

CIRCLE.

The

Circle, or Ring,

accepted as the emblem

ending existence.
plain,
its

tail

It

and sometimes
in its

has been universally

of eternity and

sometimes appears
in

perfect neverin

art

quite

the form of a serpent having

mouth.

CROWN. A

Crown,

in Christian art, is the

symbol

of sovereignty, victory, and of the glory of martyrdom.

As

the symbol of sovereignty,

and

it

to the Blessed Virgin as the

is

given to the Deity,

Queen

of Heaven.

the symbol of victory and the glory of martyrdom,

given to saints and martyrs.


cases

alludes

to

earthly

rank.

In

addition,

it

in

As
it

is

some

The crowns worn by

and Emblems.

Miscellaneous Symbols

St.

Catherine and St. Ursula allude both

tyrdoms and

crown

mar-

their

to

Sometimes the

rank as princesses.

their

143

given to saints as an attribute alluding to their

is

earthly rank only.

DOVE. The

Dove, when invested with the divine

nimbus,

is

the symbol of the

nimbus,

it

is

and

When

purity.

beak,

is

it

emblem

the

the

Holy Ghost; without the

of love, innocence, meekness,

depicted with an olive-branch in

emblem of

In

peace.

art,

been adopted to represent the human

its

the dove has

soul,

and

in that

sense was depicted issuing from the lips of dying saints.

DRAGON. In

all

periods

Dragon has been adopted


Spirit.

of

Christian

the symbol

as

art

the

of the Evil

was evidently derived from the Apocalypse,

It

where Satan

is

spoken of as the

"

Great Dragon."

In

representations of the archangel Michael, and of St. Margaret, the


Spirit.

pent,

dragon

The

is

introduced as the symbol of the Evil

Devil has also been symbolized by the Ser-

and with the

direct authority of the

DRAGON'S MOUTH.
their

minds the

scriptural

Artists,

words,

"

Holy

Scriptures.

having

the jaws

of

before
Hell,"

adopted the open mouth of a dragon, or some similar


monster, to set forth that fearful place which claims the
fallen soul.

When

this

symbol

is

depicted in ancient

art,

Christian

flames are usually

shown

Symbolism.

144

issuing from the jaws, into which

by demons.

sinners are falling, or being thrown

ESCALOP-SHELL. The
in

Christian

emblem

Heart carried by a

of love and piety.

is

the usual

emblem

saint is symbolical

If depicted flaming,

of fervent zeal for Christ


the

It

when used

of pilgrims.

HEART. A

is

pilgrimage.

signifies

art,

Escalop-shell,

and

it is

the

emblem

pierced with arrows,

if

it

of contrition, deep repentance, and devotion

in trial.

LAMP. The

Lamp, burning,

dom, and that piety which

LILY.
purity,

The

Lily

and as such

OLIVE.
ciliation

The

the symbol of wis-

a burning light before

emblem of

the

borne by virgin

Olive-branch

is

the

all

virginity

men.
and

saints.

emblem

of recon-

and peace.

PALM. The
of martyrdom.
martyrs,

is

is

is

is

Palm,

It is

and belongs

symbol

in Christian art, is the

found on the tombs of the early


to

all

those saints

who

suffered

death in the cause of Christ.

POMEGRANATE.The
and displaying
as the
tality.

its

seeds,

emblem of the

Pomegranate, burst open

was accepted by

future

life,

early

and of hope

in

artists

immor-

Miscellaneous

SCOURGE. The
hands of a

the

emblem

the

or

Flagellum,

in

the

of self-mortification and
it

has a

meaning.*

SQUARE. The
is

Scourge,

145

In the hands of St. Ambrose, however,

penance.
different

saint, is

Symbols a7id Emblems.

emblem

this sense

it

of the

was used

SWAN. The
retirement,

Square, in opposition to the Circle,

nimbus of

for the

Swan

and appears

and earthly existence.

earth

in

living persons.

emblem

the

is

In

of solitude and

mediaeval art used with this

signification.

SWORD. The

Sword,

a general sense,

in

symbol of violent death or martyrdom.

emblem

of the soldier of Christ,

who

wields the

of the Spirit."
* See

St.

Ambrose,

p. 124, ante.

FINIS.

It is

is

the

also the
"

Sword

/;

BRIGHAM YOUNG UNIVERSITY

3 1197 21974 0880

Date Due
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