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قراءة كتاب Churches and Church Ornaments Rationale Divinorum Officiorum
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Churches and Church Ornaments Rationale Divinorum Officiorum
correcting and revising the work. He also added some notes, of little worth. The Venice reprint is so vicious a specimen of typography, that from it alone the sense could in many places hardly be explained. Our copy belonged to Bishop White Kennett, who appears to have studied it diligently.
We must now say a few words as on our own share in the work. With respect to the Introduction, fully convinced as we are of the truth and importance of the general principle maintained in it, we do not wish to press, as matter of certainty, all or any of the minor details into which that theory is carried. We believe, indeed, that the more the subject has been studied, the more truthful our views will appear to be: but we wish the reader to bear in mind, that the weakness of any portion of them is no argument against their reception, as a whole. At the same time, none can be more aware than ourselves how much more ably such views might have been advocated: we have not, however, spared {xii} time or pains in the study of the subject; 'and if we have done meanly, it is that we could attain unto.'
In the Translation, we have endeavoured, too often unsuccessfully, to retain the beautiful simplicity of the original. In the obscure passages, of which there are not a few, we have mentioned the difficulty in the notes, lest the reader, by our mistake, should be led into error himself.
The quotations from Holy Scripture are given in the authorised version, except where, to bring out the author's full meaning, it was necessary to have recourse to the Vulgate; and we have then translated literally from that.
We have felt no small pleasure in thus enabling this excellent prelate, though at so far distant a land from his own, and after a silence of nearly six hundred years, being dead, yet to speak: and if the following pages are at all useful in pointing out the sacramental character of Catholic art, we shall be abundantly rewarded, as being fellow-workers with him in the setting forth of one, now too much forgotten, Church principle.
J. M. N.
B. W.
Michaelmas, 1842.
INTRODUCTORY ESSAY
SACRAMENTALITY: A PRINCIPLE OF ECCLESIASTICAL DESIGN
ANALYSIS OF THE INTRODUCTORY ESSAY
INTRODUCTION.
2. Obvious, but indefinable, difference between old and new churches.
Wherein this consists.
Not in association,
Nor in correctness of details,
Nor in the Picturesque,
Nor in the Mechanical advantages,
But in Reality considered, in an enlarged view, as Sacramentality.
3. This probable,
from examples, and
promises in Holy Scripture.
Catholic consent,
examples to the contrary,
philosophical reasons.
4. Enunciation of the subject.
5. Writers on the subject,
Pugin, Poole, Lewis, Coddington, the writers of the
Cambridge Camden Society.
I. A PRIORI.
Symbolising spirit of Catholic Antiquity, in
(a) Interpretation of Holy Scriptures.
(b) Analogy of the Jewish Ceremonies.
(c) Private manners.
(d) Emblems in Catacombs, etc.
(e) Symbolical interpretation of Heathen writers.
II. ANALOGICAL.
i. Examples of other nations.
(a) Jews.
(1) Temple rites.
(2) Legal observances.
(3) Sacred books.
(b) Turks.
(c) Infidels.
(1) Hindu and Egyptian Mythology
(2) Persian Poetry.
(d) Heretics.
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ii. From Nature.
(a) Trinity.
(b) Resurrection.
(c) Self-sacrifice,
iii. From Art.
(a) Sculpture,
(b) Painting.
(c) Music.
(d) Language of Flowers.
iv. Parabolical teaching.
III. PHILOSOPHICAL.
Objective answering to Subjective.
All effect sacramental of the efficient.
Sacramentality of all Religion.
Ritualism peculiarly and necessarily sacramental.
Church Architecture, a condition of Ritualism.
Necessities induce accidents: and these material expressions.
Example:
Necessities of Ritualism, and their expressions in earlier
and later ages.
Hence Symbolism.
Essential.
Intended.
Conventional, which again becomes intended.
IV. ANALYTICAL.
1. Cruciformity.
2. Ascent to Altar.
3. Orientation.
4. Verticality.
V. INDUCTIVE.
Express and continuous testimony.
(a) Apostolical Constitutions.
(b) Eusebius.
(c) Symbolical writers.
Actual examples.
VI. RECAPITULATION.
I. DOCTRINES.
(a) The Holy Trinity, set forth in
i. Nave and Two Aisles.
ii. Chancel, Nave and Apse,
iii. Clerestory, Triforium, and Pier Arches,
iv. Triple windows.
v. Altar steps.
vi. Triplicity of mouldings,
vii. Minor details.
(b) Regeneration.
i. The octagonal form of Fonts,
ii. The octagonal form of Piers,
iii. Fishes.
(c) Atonement.
i. Cruciformity.
ii. Deviation of Orientation.
iii. Double Cross,
iv. The threat Rood.
v. Details.
(d) Communion of Saints.
II. DETAILS.
(a) Windows: a series of examples.
(b) Doors.
i. Norman tympana.
ii. Double doors in Early English.
(a) These explained in two ways,
(1) Christ's entrance into the world.
(2) Our entrance into the kingdom of heaven.
(b) Difference between mouldings of Chancel arches and doors.
(c) Porches.
(d) Chancel Arch and Rood Screen.
(e) Monuments.
(a) Difference of ancient and modern symbolism in these,
(1) Sceptical character of the present age.
(2) Paganism of modern design.
(3) Reality of ancient design.
(b) Historical details of Monuments.
(f) Gurgoyles and Poppyheads.
(g) Flowers used in architecture.
1. Inequality of type and antitype.
2. Difference of Symbolism in the same arrangement.
3. Mechanical