Chapter III

OF PICTURES, AND IMAGES, AND CURTAINS, AND THE ORNAMENTS OF CHURCHES

Use of Pictures and Curtains--Objections against the Use, answered-- Place of Pictures--The Saviour, how Represented--The Angels--The Evangelists--The Apostles--The Patriarchs--S. John Baptist-- Martyrs--Confessors--Institution of Pictures--Of Crowns--Of Paradise--Of the General Ornament of Churches--Of Pyxes--Of Relicaries--Of Candlesticks--Of Cups--Of the Cross--Of Altar Cloths and Veils--The Treasures of the Church, when Displayed, and why--Of Ostrich Eggs--Of Vessels for the Holy Mysteries--Of Chalices--General Observations on the Respect due to Church Ornaments.

1. Pictures and ornaments in churches are the lessons and the Scriptures of the laity. Whence Gregory: It is one thing to adore a picture, and another by means of a picture historically to learn what should be adored. For what writing supplieth to him which can read, that doth a picture supply to him which is unlearned, and can only look. Because they who are uninstructed thus see what they ought to follow: and _things_ are read, though letters be unknown. True is it that the Chaldeans, which worship fire, compel others to do the same, and burn other idols. But Paynim adore images, as icons, and idols; which Saracens do not, who neither will possess nor look on images, grounding themselves on that saying, 'Thou shalt not make to thyself any graven image, nor the likeness of anything that is in heaven above, nor in the earth beneath, nor in the waters {43} under the earth,' [Footnote 237] and on other the like authorities: these they follow incontinently, casting the same in our teeth. But we worship not images, nor account them to be gods, nor put any hope of salvation in them: for that were idolatry. Yet we adore them for the memory and remembrance of things done long agone. [Footnote 238 ] Whence the verse, [Footnote 239]

What time thou passest by the rood, bow humbly evermore;
Yet not the rood, but Him which there was crucified, adore.

And again: [Footnote 240]

That thing, which hath his being given, 'tis fond for God to own:
A form material, carved out by cunning hands, in stone.

And again: [Footnote 241]

The form is neither God nor man, which here thou dost behold:
He very God and Man, of whom thou by that form art told.

[Footnote 237: Exodus xx, 4.]

[Footnote 238: _Veneramur_.--We here use the word _adore_ in the
sense given to it by the great and good Bishop Montague, in his
'Just Treatise of Invocation': where he says, speaking of the
Saints, 'I do admire, reverence, _adore_ them in their kind.']

[Footnote 239:
Effigiem Christi, quum transis, pronus honora:
Non tamen effigiem, sed quem designat, adora.]

[Footnote 240:
Esse Deum, ratione caret, cui consulit esse:
Materiale lapis, effigale manus.]

[Footnote 241:
Nec Deus est, nec homo, quam praesens cernis imago;
Sed Deus est et Homo, quem sacra figurat imago.

The later editions add--
Nam Deus est, quod imago docet, sed non Deus ipse;
Hunc videas, sed mente colas, quod noscis in ipsa.]

2. The Greeks, moreover, employ painted representations, painting, it is said, only from the navel upwards, that all occasion of vain thoughts may be removed. But they make no carved image, as it is written, 'Thou shalt not make a graven image.' [Footnote 242] And again: 'Thou shalt not make an idol, nor a graven image.' [Footnote 243] And again, 'Lest ye be deceived, and make a graven image.' [Footnote 244] And again: 'Ye shall not make unto you gods of silver: [Footnote 245] {44} neither shall ye make with Me gods of gold.' So also the Prophet, 'Their idols are silver and gold, the work of man's hand. They that make them are like unto them: and so are all they that put their trust in them.' [Footnote 246] And again: 'Confounded be all they that worship graven images: and that put their glory in their idols.' [Footnote 247]

[Footnote 242: Deut. v, 8.]

[Footnote 243: Lev. xxvi. 1.]

[Footnote 244: Deut. iv, 16.]

[Footnote 245: Exodus xx, 20.]

[Footnote 246: Psalm cxv, 4.]

[Footnote 247: Psalm xcvii, 7.]

3. Also, Moses saith to the children of Israel, 'Lest perchance thou shouldest be deceived, and shouldest worship that which the Lord thy God hath created.' [Footnote 248] Hence also was it that Hezekiah King of Judah brake in pieces the brazen serpent which Moses set up: because the people, contrary to the precepts of the law, burnt incense to it.

[Footnote 248: Deut. iv, 19.]

4. From these forementioned and other authorities, the excessive use of images is forbidden. The Apostle saith also to the Corinthians, 'We know that an idol is nothing in the world: and there is no god but One.' [Footnote 249] For they who are simple and infirm may easily by an excessive and indiscreet use of images, be perverted to idolatry. Whence he saith in Wisdom, 'There shall be no respect of the idols of the nations, which have made the creatures of God hateful, and temptations for the souls of men, and snares for the feet of the unwise.' [Footnote 250] [Footnote 251] But blame there is none in a moderate use of pictures, to teach how ill is to be avoided, and good followed.

[Footnote 249: I Corinth, viii, 4.]

[Footnote 250: Wisdom xiv, 11.]

[Footnote 251: A more solemn protest against the sin of idolatry can
hardly be found than the above passage: and they who brand every
return to, and every wish for the restoration of, Catholic
practices, by so hateful a name, would do well to bear it in mind.]

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Whence saith the Lord to Ezekiel, 'Go in, and behold the abominations which these men do. And he went in, and saw the likeness of reptiles and beasts, and the abominations, and all the idols of the house of Israel portrayed on the wall.' [Footnote 252] Whence saith Pope Gregory in his Pastorale, When the forms of external objects are drawn into the heart, they are as it were painted there, because the thoughts of them are their images. Again, He saith to the same Ezekiel, 'Take a tile, and lay it before thee, and describe in it the city Jerusalem.' [Footnote 253] But that which is said above, that pictures are the letters of the laity explaineth that saying in the Gospel, 'He saith. They have Moses and the prophets: let them hear them.' [Footnote 254] Of this, more hereafter. The Agathensian [Footnote 255] Council forbids pictures in churches: and also that that which is worshipped and adored should be painted on the walls. But Gregory saith, that pictures are not to be put away because they are not to be worshipped: for paintings appear to move the mind more than descriptions; for deeds are placed before the eyes in paintings, and so appear to be actually carrying on. But in description, the deed is done as it were by hearsay: which affecteth the mind less when recalled to memory. Hence, also, is it that in churches we pay less reverence to books than to images and pictures.

[Footnote 252: Ezekiel viii, 10.]

[Footnote 253: Ezekiel iv, 1.]

[Footnote 254: S. Luke xvi, 29.]

[Footnote 255: A.D. 605]

5. Of pictures and images some are above the church, as the cock and the eagle: some without the church, namely, in the air in front of the church, as the ox and the cow: others within, as images, and statues, and various kinds of painting and sculpture: and these be represented either in garments, or on walls, or in stained glass. Concerning some of which we have spoken in treating of the church: and how they are taken from the tabernacle of Moses and the temple of Solomon. For Moses made carved work, and Solomon made carved work, and pictures, and adorned the walls with paintings and frescoes.

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6. The image of the Saviour is more commonly represented in churches three ways: as sitting on [Footnote 256] His throne, or hanging on His cross, or lying on the bosom of His Mother.

[Footnote 256: Durandus had doubtless in his mind the ancient mosaic
over the apsides of the earliest churches in Rome. The extremely
beautiful one in San Clemente represents our Lord as crucified. The
frescoes with which the walls of our own churches were anciently
adorned, seem usually to have represented the Saviour as seated on
the Throne of His Majesty. In the chancel of Widford, Herts, is, or
was till lately, a fresco of the Saviour seated on a rainbow, a
sword proceeding from His mouth, His feet and His hands pierced. In
Alfriston, Sussex, there was, we believe, before it was whitewashed
over by Bishop Buckner's order, a painting of a similar kind. There
is a singular, and, we believe, undescribed painting over the altar
in Llandanwg church, Merion. The Saviour is seated in judgment, as
before: at His side is His Blessed Mother in a kneeling posture:
around Him are angels blowing trumpets, and S. Peter in
eucharistical vestments. There is a representation of the souls
under the altar. Below are devils torturing souls in cauldrons of
brimstone. The evangelistic symbols are also represented.

In a fresco at Beverstone, Gloucestershire, our Saviour is
represented on the Cross, with blood flowing from His side into a
chalice. (See App. I.) There are remains also of a crucifixion in
fresco, in the exquisite, but desecrated chapel of Prior Crauden, in
the Deanery, Ely. On the Iconostasis of the Greco-Russian Church,
all the three positions are to be found.

In stained glass, the Crucifixion generally supplies the place of
any other representation of the Saviour. Brasses occasionally, as a
very curious one in Cobham, Surrey, represent His nativity or
epiphany: but most commonly the Crucifixion, or a Trinity.

There can be no doubt, that many of the most graphic pictures in our
old poets owed their origin to the then undestroyed fresco paintings
of churches. Some painting, like that above described, of hell, very
probably suggested the noble lines of Spenser (i. ix. 50. 6):

He showed him painted in a table plaine.
The damned ghosts that doe in torments waile.
And thousand feends that doe them endless paine
With fire and brimstone, which for ever shall remaine.

Who can estimate the effect of such pictorial representations on the
minds of our ancestors? or the good which might be the result, if
our churches were again frescoed with similar subjects, wrought with
the genius and Catholic feeling of an Overbeck or Cornelius?]
[End footnote]

And because John Baptist pointed to Him, saying, 'Behold the Lamb of God,' [Footnote 257] therefore some represented Christ under the form of a lamb.

[Footnote 257: S. John i, 29.]

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But because the light passeth away, and because Christ is very man, therefore, saith Adrian, Pope, He must be represented in the form of a man. A holy lamb must not be depicted on the cross, as a principal object: but there is no let when Christ hath been represented as a man, to paint a lamb in a lower or less prominent part of the picture: since He is the true Lamb which 'taketh away the sins of the world.' In these and divers other manners is the image of the Saviour painted, on account of diversity of significations.

7. Represented in the cradle, the artist commemorateth His nativity: on the bosom of His Mother, His childhood: the painting or carving His cross signifieth His Passion (and sometimes the sun and moon are represented on the cross itself, as suffering an eclipse): when depicted on a flight of steps, His ascension is signified: when on a state or lofty throne, we be taught His present power: as if He said, 'All things are given to Me in heaven and in earth:' [Footnote 258] according to that saying, 'I saw the Lord sitting upon His throne:' [Footnote 259] that is, reigning over the angels: as the text, 'Which sitteth upon the cherubim.' [Footnote 260] Sometimes He is represented as He was seen of Moses and Aaron, Nadab and Abihu, on the mountain: when 'under His feet was as it were a paved work of sapphire stones, and as the body of heaven in His clearness:' [Footnote 261] and as 'they shall see,' as saith S. Luke, 'the Son of Man coming in the clouds with power and great glory. [Footnote 262] Wherefore sometimes He is represented surrounded by the seven angels that serve Him, and stand by His throne, each being portrayed with six wings, according to the vision of Isaiah, 'And by it stood the seraphim: each one had six wings: with twain he covered his face, and with twain he covered his feet, and with twain he did fly.' [Footnote 263]

[Footnote 258: S. Matt, xxviii, 18.]

[Footnote 259: Isaiah vi, 1.]

[Footnote 260: Psalm lxxx, 1.]

[Footnote 261: Exodus xxiv, 10.]

[Footnote 262: S. Matthew xxiv, 30.]

[Footnote 263: Isaiah vi, 2.]

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8. The angels are also represented as in the flower of youthful age: for they never grow old. [Footnote 264] Sometimes S. Michael is represented trampling the dragon, according to that of John, 'There was war in heaven: Michael fought with the dragon.' Which was to represent the dissensions of the angels: the confirmation of them that were good, and the ruin of them that were bad: or the persecution of the faithful in the Church Militant. Sometimes the twenty-four elders are painted around the Saviour, according to the vision of the said John, with 'white garments, and they have on their heads crowns of gold.' [Footnote 265]By which are signified the doctors of the Old and New Testament; which are twelve, on account of faith in the Holy Trinity preached through the _four_ quarters of the world: or twenty-four, on account of good works, and the keeping of the gospels. [Footnote 266] If the seven lamps be added, the gifts of the Holy Spirit are represented: if the sea of glass, baptism. [Footnote 267]

[Footnote 264: Many of our readers will call to mind the peculiar
expression always given to the countenances of angels in Catholic
illuminations or paintings, a conventional propriety uniformly
neglected by modern artists. The same character was beautifully
given in the relieved figures of angels upon the shrine of S. Henry
lately exhibiting in London.]

[Footnote 265: Apocalypse xii, 7.]

[Footnote 266: Apocalypse iv, 4.]

[Footnote 267: This very obscure passage is an instance of the
symbolism in the combination of numbers. It seems to mean that faith
in the Holy Trinity preached through the four quarters of the world,
may be represented by three multiplied into four or twelve: and
again, this symbolical fact multiplied by general good works and
keeping of the Gospels, may be set forth in twenty-four. It is to be
remarked that the princeps edition alone gives _Evangeliorum_: the
later have _Evangelistarum_, which with _observantia_ is scarcely
intelligible. Compare S. August, Expos. in Psalm lxxxvi. Non solum
ergo illi duodecim (sc. Apostoli) et Apostolus Paulus, sed quotquot
judicaturi sunt, propter significationem universitatis ad sedes
duodenas pertinent . . . partes enim mundi quatuor sunt, Oriens,
Occidens, Aquilo, et Meridies. Istae quatuor partes assidue
inveniuntur in Scripturis. Ab istis quatuor ventus, sicut dixit
Dominus in Evangelio vocatur Ecclesia. Quomodo vocatur? Undique in
Trinitate vocatur. Quatuor ergo ter ducta duodecim inveniuntur. See
also S. Isidore, Alleg. in S. S. folio 353, C. D.]

9. Sometimes also representation is made of the four living creatures spoken of in the visions of Ezekiel and the aforesaid John: the face of a man and the face of a {49} lion on the right,--the face of an ox on the left, and the face of an eagle above the four. These be the Four Evangelists. Whence they be painted with books by their feet, because by their words and writings they have instructed the minds of the faithful, and accomplished their own works. Matthew hath the figure of a man, Mark of a lion. These be painted on the right hand: because the nativity and the resurrection of Christ were the general joy of all: whence in the Psalms: 'And gladness at the morning.' [Footnote 268] But Luke is the ox: because he beginneth from Zachary the priest, and treateth more specially of the Passion and Sacrifice of Christ: now the ox is an animal fitted for sacrifice. He is also compared to the ox, because of the two horns,--as containing the two testaments; and the four hoofs, as having the sentences of the four Evangelists. [Footnote 269]By this also Christ is figured, who was the sacrifice for us: and therefore the ox is painted on the left side, because the death of Christ was the trouble of the apostles. Concerning this, and how blessed Mark [Footnote 270] is depicted, in the seventh part. But John hath the figure of the eagle: because, soaring to the utmost height, he saith, 'In the beginning was the word.' [Footnote 271]

[Footnote 268: Psalm xxx (_Exaltabo Te_), 5. These symbols, however,
were not at first definitely settled, and as we are informed by S.
Austin, the lion was sometimes given to S. Matthew and the angel and
or man, to S. Mark. The reasons of the appropriation of the various
symbols are beautifully expressed in a hymn quoted in the Camden's
Society's 'Illustrations of Monumental Brasses,' Part I, p. 30.]

[Footnote 269: This passage is very obscure. Durandus's words are,
_quasi quatuor evangelistorum sententias_. We cannot but think that
the two sentences have been misplaced. The sense is then plain.
Christ is also signified by the ox--as containing in Himself the Law
and the Gospel--and accomplishing that which is written of Him by
the four Evangelists, e.g. His promises of the descent of the Holy
Ghost, of being always with His Church, etc. S. Peter Chrysologus,
Sermo v. de Christo, Hic est _Vitulus_, qui in Epulam nostram
quotidie, et jugiter immolatur.]

[Footnote 270: S. Mark is painted with a contracted brow, a large
nose, fair eyes, bald, a long beard, fair complexion, of middle age,
with a few grey hairs. Durand. vii, 44, 4.]

[Footnote 271: S. John i, 1.]

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This also representeth Christ, 'Whose youth is renewed like the eagle's': [Footnote 272] because, rising from the dead, He ascendeth into heaven. Here, however, it is not portrayed as by the side, but as above, since it denoteth the ascension, and the word pronounced of God. But how, since each of the living creatures hath four faces and four wings, they can be depicted, shall be said hereafter. [Footnote 273]

[Footnote 272: Psalm ciii (_Benedic, anima mea_), 5.]

[Footnote 273: Durandus, book vii, 44, 'S. Matthew is signified by a
man, because his Gospel is principally occupied concerning the
humanity of Christ: whence his history beginneth from his human
pedigree. S. Mark by a lion, which roareth in the desert: for he
chiefly describeth the Resurrection: whence his Gospel is read on
Easter day. But the lion is said to rouse his whelps on the third
day after their birth. His Gospel beginneth, 'The voice of one
crying in the wilderness.' S. Luke by the ox, an animal fit for
sacrifice: because he dwelleth on the Passion of Christ. S. John by
the eagle, because he soareth to the Divinity of Christ, while the
others walk with their Lord on earth. The Evangelists be likewise
set forth by the four rivers of Paradise: John by Pison; Matthew by
Gihon; Luke by Euphrates; Mark by Tigris:--as is clearly proved by
Innocent III, in a certain sermon on the Evangelists.'--We may add,
that the finest representation of the evangelistic symbols with
which we are acquainted in this country', occurs in the chancel of
Oxted church, Surrey.]

10. Sometimes there are painted around, or rather beneath, the Apostles; who were His witnesses by deed and word to the ends of the earth: and they are portrayed with long hair, as Nazarenes, that is, holy persons. For the law of the Nazarenes was this: from the time of their separation from the ordinary life of man, no razor passed upon their heads. They are also sometimes painted under the form of twelve sheep: because they were slain like sheep for the Lord's sake: and sometimes the twelve tribes of Israel are so represented. When, however, more or less sheep than twelve are painted, then another thing is signified, according to that saying of Matthew, 'When the Son of Man shall come in His glory--then shall He sit on the throne of His glory: and before Him shall be gathered all nations, and He shall separate them one from the other, as a {51} shepherd divideth the sheep from the goats.' [Footnote 274] How the Apostles Bartholomew and Andrew are to be painted, shall be said hereafter. [Footnote 275]

[Footnote 274: S. Matthew xxv, 1.]

[Footnote 275: S. Bartholomew is represented with black and
grizzled hair, fair complexion, large eyes, straight nose, long
beard, few grey hairs, moderate height, with a high white neck,
clothed in purple, with a white pall, having purple gems at each
angle. Durand. vii, 25, 2.

S. Andrew had a dark complexion, long beard, moderate height. This
is therefore said, that ye may know how he ought to be painted:
which should be known of the other apostles and saints. Durand. vii,
38, i.]

11. And note that the patriarchs and prophets are painted with wheels in their hands. Some of the apostles with books and some with wheels: namely, because before the advent of Christ the faith was set forth under figures, and many things were not yet made clear; to represent this, the patriarchs and prophets are painted with wheels, to signify that imperfect knowledge. But because the apostles were perfectly taught of Christ, therefore the books, which are the emblems of this perfect knowledge, are open. But because some of them reduced their knowledge in writing, to the instruction of others, therefore fittingly they are represented with books in their hands like doctors. So Paul, and the Evangelists, Peter, James, and Jude. But others, who wrote nothing which has lasted, or been received into the canon by the Church, are not portrayed with books but with wheels, as a type of their preaching. Whence the Apostle to the Ephesians, 'And he gave some apostles, and some prophets, and some evangelists, and some pastors and teachers for the work of the ministry.' [Footnote 276]

[Footnote 276: Ephes. iv, 11.]

12. But the Divine Majesty is also portrayed with a closed book in the hands: 'which no man was found worthy to open but the Lion of the tribe of Juda.' [Footnote 277] And sometimes with an open book: that in it every one may read that 'He is the Light of the world': [Footnote 278] and the Way, the Truth, and the Life': [Footnote 279] and the Book of Life [is also portrayed]. But why Paul is represented at the right, and Peter at the left of the Saviour, we shall show hereafter.

[Footnote 277: Apocalypse v, 2.]

[Footnote 278: S. John viii, 12.]

[Footnote 279: S. John xiv, 6.]

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13. John Baptist is painted as a hermit.

14. Martyrs with the instruments of their torture: as S. Laurence with the gridiron: S. Stephen with stones: and sometimes with palms, which signify victory, according to that saying, 'The righteous shall flourish like a palm-tree: [Footnote 280] as a palm-tree [Footnote 281] flourishes, so his memory is preserved. Hence is it that palmers, they who come from Jerusalem, bear palms in their hands in token that they have been the soldiers of that King Who was gloriously received in the earthly Jerusalem with palms: and Who afterwards, having in the same city subdued the devil in battle, entered the palace of heaven in triumph with His angels, where the just shall flourish like a palm-tree, and shall shine like stars.

[Footnote 280: Psalm xcii, 12.]

[Footnote 281: This explanation differs from that usually received:
namely, that the righteous flourishes best in adversity: as the
palm-tree grows fasteth when loaded with weights.]

15. Confessors are painted with their insignia, as bishops with their mitres, abbots with their hoods: and some with lilies, [Footnote 282] which denote chastity. Doctors with books in their hands: virgins, according to the Gospel, [Footnote 283] with lamps.

[Footnote 282: So in the beautiful hymn at Lauds in the
commemoration of a virgin martyr, of the Parisian Breviary:

Liliis Sponsus recubat, rosisque;
Tu, tuo semper bene fida Sponso
Et rosas Martyr, simul et dedisti
_Lilia Virgo_.]

[Footnote 283: S. Matthew xxv, 1.]

16. Paul with a book and a sword: with a book, as a doctor, or with reference to his conversion: with a sword as [Footnote 284] a soldier. Whence the verse:

The sword denotes the ire of Saul,
The book, the power converting Paul.

[Footnote 284: This is undoubtedly a mistake: the sword represents
in this case, as in others, the instrument of martyrdom.]

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17. Generally the effigies of the holy fathers are portrayed on the walls of the church, or on the back panels of the altar, or on vestments, or in other various places, so that we may meditate perpetually, not indiscreetly or uselessly, on their holiness. Whence in Exodus it is commanded by the divine law, that in the breast of Aaron, the breastplate of judgment should be bound [Footnote 285] with strings: because fleeting thoughts should not occupy the mind of a priest, which should be girt by reason alone. In this breastplate also, according to Gregory, the names of the twelve patriarchs are commanded to be carefully inscribed.

[Footnote 285: Exodus xxviii, 22.]

18. To bear the fathers thus imprinted on the breast, is to meditate on the lives of ancient saints without intermission. But then doth the priest walk blamelessly when he gazeth continually on the example of the fathers which have gone before, when he considereth without ceasing the footsteps of the saints, and represseth unholy thoughts, lest he wander beyond the limits of right reason.

19. It is to be noted that the Saviour is always represented as crowned, as if he said, 'Come forth, children of Jerusalem, and behold King Solomon in the diadem with which his mother crowned him.' [Footnote 286] But Christ was triply crowned. First by His Mother on the day of His conception, with crown of pity: which was a double crown: on account of what He had by nature, and what was given Him: therefore also it is called a diadem, which is a double crown. Secondly, by His step-mother in the day of His Passion, with the crown of misery. Thirdly, by His Father in the day of His Resurrection, with the crown of glory: whence it is written, 'O Lord, {54} Thou hast crowned Him with glory and honour.' [Footnote 287] Lastly, He shall be crowned by His whole family, in the last day of Revelation, with the crown of power. For He shall come with the judges of the earth to judge the world in righteousness. So also all saints are portrayed as crowned, as if they said: Ye children of Jerusalem, behold the martyrs with the golden crowns wherewith the Lord hath crowned them. And in the book of Wisdom: 'The just shall receive a kingdom of glory, and a beautiful diadem from the hand of their God.' [Footnote 288]

[Footnote 286: Canticles iii, 11.]

[Footnote 287: Psalm viii (_Domine Dominus_), 5.]

[Footnote 288: Wisdom v, 16.]

20. But their crown is made in the fashion of a round shield: because the saints enjoy the divine protection. Whence they sing with joy: 'Lord, Thou hast crowned us with the shield of Thy favour.' [Footnote 289] But the crown of Christ is represented under the figure of a cross: [Footnote 290] and is thereby distinguished from that of the saints: because by the banner of His cross He gained for Himself the glorification of His humanity, and for us freedom from our captivity, and the enjoyment of everlasting life. But when any living [Footnote 291]prelate or saint is portrayed, the glory is not fashioned in the shape of a shield, but four-square: that he may be shown to flourish in the four cardinal virtues: as it is contained in [Footnote 292] the legend of blessed Gregory.

[Footnote 289: Psalm v (_Verba mea_), 12.]

[Footnote 290: See Appendix I.]

[Footnote 291: This does not appear to have prevailed in England.
The nearest contemporary effigy of a saint which we have observed in
stained glass, is that of S. Thomas, of Hereford, in the church of
Cothelstone, Somersetshire. Here the glory is, as usual, of the
circular form. As also in the fresco of the martyrdom of S. Thomas
of Canterbury, in Preston church. Sussex, which is nearly
contemporary. (See Appendix 1.)]

[Footnote 292: This refers to the account given by Paulus Diaconus
of the visible effulgence which surrounded the head of this great
doctor when he was dictating his works.]

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21. Again, sometimes Paradise is painted in churches, that it may attract the beholders to a following after its rewards: sometimes hell, that it may terrify them by the fear of punishment.' [Footnote 293] Sometimes flowers [Footnote 294] are portrayed, and trees: to represent the fruits of good works springing from the roots of virtues.

[Footnote 293: A monk named Constantine set before the prince those
judgments of God which are in all the world, and the retribution of
the life to come: his discourse powerfully affected the heathen
monarch (Vladimir, afterwards S. Vladimir); and this was
particularly the case when the monk pointed out to him on an icon,
which represented the Last Judgment, the different lot of the good
and the wicked. "Good to those on the right hand--woe to those on
the left," exclaimed Vladimir, deeply affected.'--Mouravieff's
'Hist, of the Russian Church,' p. 11, On which his translator, the
Rev. R. W. Blackmore, sensibly remarks, 'Whatever may be the right
view of the abstract question respecting icons, and the showing
outward respect to them, the Russians at least cannot reasonably be
blamed for revering a usage which was made the means, in part at
least, of so blessed a result as the conversion of the great Prince
Vladimir, the Constantine of their church and nation.']

[Footnote 294: This flower work is excessively common in Norman
churches: that of S. Sepulchre's, at Cambridge, was a notable
example of it. ]

22. Now the variety of pictures denoteth the diversity of virtues. For 'to one is given by the Spirit the word of wisdom: to another the word of knowledge,' etc. [Footnote 295] But virtues are represented under the forms of women: because they soothe and nourish. Again, by the ceilings or vaultings, which are for the beauty of the house, the more unlearned servants of Christ are set forth, who adorn the Church, not by their learning, but by their virtues alone.

[Footnote 295: I Corinth, xii, 8. ]

The carved images which project from the walls, appear as it were to be coming out of it: because when by reiterated custom virtues so pertain to the faithful, that they seem naturally implanted in them, they are exercised in all their various operations. How a synagogue is depicted, shall be said hereafter: as also how the pall of the Roman Pontiff: and the year [Footnote 296]and the zodiacal signs and its months. But the diverse histories of the Old and New Testaments may be represented after the fancy of the painter. For

Pictoribus atque poetis
Quod libet [Footnote 297] addendi semper fuit seque potestas.

[Footnote 296: These are often to be found round Norman doors: as in
that of S. Laurence, at York, and Egleton, Rutland.]

[Footnote 297: A false reading, of course; yet not without its
appropriate sense--the power of _adding_ any ornamental circumstance
to the main subject.]

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23. Furthermore, the ornaments of the church consist of three things:--the ornaments of the nave, [Footnote 298]the choir, and the altar. The ornaments of the nave consist in dorsals, tapestry, mattings, and cushions of silk, purple, and the like. The ornaments of the choir consist in dorsals, tapestry, carpets, and cushions. Dorsals are hangings of cloth at the back of the clergy. Mattings, for their feet. Tapestry is likewise strewed under the feet, particularly under the feet of bishops, who ought to trample worldly things under their feet. Cushions are placed on the seats or benches of the choir.

[Footnote 298: _Ecclesiae:_ here undoubtedly the nave: as often
_church_ is so used in our prayer-book.]

24. But the ornament of the altar consists in portfolios, altar cloths, relicaries, candlesticks, crosses, an orfray, banners, missals, coverings, and curtains.

25. And notice, that the portfolio in which the consecrated host is kept, signifieth the frame of the blessed Virgin, concerning which it is said in the Psalms, 'Arise, O Lord into Thy resting place.' [Footnote 299] Which sometimes is of wood: sometimes of white ivory: sometimes of silver: sometimes of gold: sometimes of crystal: and according to the different substances of which it is made, designateth the various dignities of the body of Christ. Again, the pyx which containeth the host, whether consecrated or not consecrated, typifieth the human memory. For a man ought to hold in remembrance continually the benefits of God, as well temporal, which are represented by the unconsecrated, as spiritual, which are set forth by the consecrated host. {57} Which was also set forth by the urn in which God commanded that the manna should be deposited: which, albeit it was temporal, prefigured nevertheless this our spiritual sacrifice, when the Lord commanded that it should be laid up for an everlasting memorial unto future generations. But the pyx, being placed on the altar, which is Christ, signifieth apostles and martyrs. And the altar cloths and coverings are confessors and virgins, or all saints: of whom saith the Prophet to the Lord, 'Thou shalt be clothed with them as with a garment.' And of these we have spoken above.

[Footnote 299: Psalm cxxxii (_Domine, memento_), 8.]

26. Now there is a difference between _phylacterium_ and _phylacteria_. _Phylacterium_ is a scroll on which the ten commandments were written: and this kind of scroll the Pharisees used to wear on the front part of their garments, as a sign of devotion. Whence in the Gospel, 'They make broad their phylacteries.' [Footnote 300] And the word is derived from _philare_, which is _to keep_, and _teras_, which is _law_. But _phylacteria_ (a relicary) is a vessel of silver or gold, or crystal, or ivory, or some substance of the same kind, in which the ashes and relics of the saints are kept. For when Vigilantius called the faithful _Cinericii_, [Footnote 301] because they preserved the ashes themselves, to testify contempt of his decision, it was ordered by the Church that they should be honourably preserved in precious vessels. And the name is derived from _philare_, which is to _preserve_, and _teron_, which is an extremity, because in them some {58} portion of the extremities of the bodies of saints is preserved: such as a tooth or a finger, or somewhat of the like kind. Over the altar in some churches also is placed a shrine: of which we have spoken in our section on the Altar.

[Footnote 300: S. Matthew xxiii, 5.]

[Footnote 301: Ais, Vigilantium, qui [Greek text] hoc vocatur nomine
(nam Dormitantius rectius diceretur), os foetidum rursum aperire, et
putorem spurcissimum contra sanctorum martyrum proferre relliquias,
et nos, qui eas suscepimus, appellare _cinerarios_.--S. Hieron, in
Epp. See also the 'Church of the Fathers,' 2nd ed. chapter xv.]

27. At the horns of the altar [Footnote 302] two candlesticks are placed to signify the joy of Jews and Gentiles at the nativity of Christ: which candlesticks, by means of a flint, have their wicks lighted. For the angel saith to the shepherds, 'I bring you good tidings of great joy, which shall be to all people: for to you is born this day the Saviour of the world. [Footnote 303] He is the true _Isaac_, [Footnote 304] which being interpreted, is laughter. Now the light of the candlestick is the faith of the people. For to the Jewish people, saith the Prophet, 'Arise, shine, for thy light is come: and the glory of the Lord is risen upon thee.' [Footnote 305] But to the Gentiles the Apostle saith, 'Ye were sometimes darkness, but are now light in the Lord.' [Footnote 306] For before the birth of Christ a new star appeared to the wise men, according to the prophecy of Balaam. 'There shall rise,' saith he, 'a star out of Jacob, and a sceptre out of Israel.' [Footnote 307] Concerning this we have also spoken in our section of the Altar.

[Footnote 302: This use of _two_ candlesticks is very remarkable: as
giving fresh authority to the custom of the English Church. ]

[Footnote 303: S. Luke ii, 10.]

[Footnote 304: Genesis xvii, 17, 19.]

[Footnote 305: Isaiah lx, 1. ]

[Footnote 306: Ephes. V, 8. ]

[Footnote 307: Numbers xxiv, 7.]

28. The snuffers or scissors for trimming the lamps are the divine words by which men amputate the legal titles of the law, and reveal the shining spirit, according to that saying, 'Ye shall eat old store, and bring forth the old because of the new.' [Footnote 308] The vessels in the which the wicks, when snuffed, are extinguished, are the hearts of the faithful, which admit the legal observance to the letter.

[Footnote 308: Leviticus xxvi, 10.]

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29. Again, the tongs, by the double tooth of which the fire is arranged, are preachers; who instruct us by the accordant pages of both Testaments, and by their behaviour setting us right, inflame us to the practice of charity.

30. But the scuta, that is cups, of equal size at top and bottom, made for warming water, are those doctors who do not conceal the treasure of their hearts: but 'bring forth out of it things new and old': [Footnote 309] as a 'candle which is not put under a bushel, but in a candlestick,' [Footnote 310]that they who are in the house of the Lord may receive the light and the heat of the Holy Ghost.

[Footnote 309: S. Matthew xiii, 52.]

[Footnote 310: S. Matthew v, 15.]

31. The cross also is to be placed on the altar that the cross-bearers may thence raise it: in which action we commemorate how Simon the Cyrenian took the cross from the shoulders of Christ and bore it. Between the two candlesticks the cross is placed on the altar: because Christ standeth in the church, the Mediator between two peoples. For He is the Corner-stone, 'Who hath made both one': [Footnote 311] to Whom the shepherds came from Judaea, and the wise men from the East. Concerning this we shall hereafter speak in another sense, when treating of the priest's approach to the altar.

[Footnote 311: Ephesians ii, 14.]

32. Again, the front of the altar is ornamented with an orfray. As it is written: 'Thou shalt make Me an altar, and shalt make a crown in a circle about it of four fingers' breadth.' [Footnote 312] The altar, ye know, sometimes signifieth the heart: in which the sacrifice of true faith must be offered by contrition: and then the orfray signifieth the taking in hand of a good occupation: wherewith we ought to adorn our foreheads, that we may give light to others. Sometimes the altar signifieth Christ: and then by the orfray the ornament of charity {60} is fitly represented. For as gold hath the superiority over all metals, so hath charity over other virtues. Whence the Apostle, in the first to the Corinthians: 'But the greatest of these is charity.' [Footnote 313] For our faith ought to be adorned with the orfray of charity, that we may be ready to lay down our lives for Christ's sake. Banners are also suspended above the altars: that in the church that triumph of Christ may evermore be held in mind, by which we also hope to triumph over our enemy.

[Footnote 312: Exodus xxvii, 4.]

[Footnote 313: I Corinth, xiii, 13.]

33. The book of the Gospel is fixed on the altar, because the Gospel hath Christ for its author, and beareth witness, to Him. Which book is therefore adorned on his outside, for the cause that we shall make mention of hereafter. Next, the vessels and utensils in the house of the Lord had their origin from Moses and Solomon: which in the Old Testament were many and diverse, as it is written in Exodus, and having divers significations, concerning which, for the sake of brevity, we will not in this place treat.

34. Now all things which pertain to the ornament of a church, must be removed or covered over in the season of Lent: which according to some taketh place on Passion Sunday, because after that time the Divinity of Christ was hidden and concealed in Him. For He gave Himself up to be betrayed and scourged, as if He were only man, and had not in Him the virtue of divinity: whence in the Gospel of this day it is written, 'But Jesus hid Himself, and went out of the temple.' [Footnote 314]

[Footnote 314: S. John viii, 59.]

Then therefore the crosses are covered, that is, the virtue of His divinity is hidden. Others do this from the first Sunday of Lent: because after that time the Church beginneth to treat of His Passion. Whence in that time the cross must not be borne in procession {61} from the church, except it be covered; and, according to the use of some places, two coverings or curtains are then only retained: of which the one is hung all round the choir, the other is suspended between the altar and the choir: that those things which be within the Holy of Holies may not appear. In that the Sanctuary and Cross are then veiled, we be taught the letter of the Law, that is, its carnal observance, or that the understanding of Holy Scriptures before the Passion of Christ was veiled, hidden, and obscure: and that in that time there was a veil: that is, men had an obscurity before their eyes. It signifieth also the sword which was set before the gate of Paradise: because the carnal observance we have spoken of, and this obscurity, and the sword at the gate of Paradise, were removed by the Passion of Christ. Therefore the curtains and veils of this kind are removed on Good Friday. But in that in the Old Testament, there were beasts that chewed the cud, and cleft the hoof, as oxen used in ploughing, that is discerning and spiritually perceiving the mysteries of Scripture: therefore in Lent only a few priests, to whom 'it is given to know the mysteries of the Kingdom of God' [Footnote 315] go behind the veil.

[Footnote 315: St. Matthew xiii, 11.]

35. Concerning this it is to be noted that there be three kinds of veils which be hung in churches: that which concealeth the mysteries: that which divideth the sanctuary from the clergy: that which divideth the clergy from the laity. The first denoteth the law: the second denoteth our unworthiness, in that we are unworthy, nay unable to behold things celestial. The third is the coercion of our carnal pleasures. The first, namely, the curtain that is hung from each side of the altar, when the priest goeth into the holy place, is typified by that which is written in Exodus. {62} 'Moses put a veil over his face, for the children of Israel could not sustain the brightness of His countenance.' [Footnote 316] And as the Apostle saith, 'Even to this day is this veil over the hearts of the Jews. [Footnote 317] The second, namely the curtain that in the office of the Mass during Lent is suspended before the altar, was set forth by the veil which was hung up in the tabernacle, and divided the Holy of Holies from the holy place, as shall be declared in the proeme to the fourth part: by which the ark was concealed from the people: and it was wrought cunningly, and adorned with a fair variety of devices. This was it that was rent in the Passion of the Lord: and after its pattern, the curtains at this day are cunningly wrought with divers patterns. Concerning the aforesaid veil, and of what sort the curtains ought to be, it is written in Exodus. The third kind of veil deriveth its origin from thence, that the _peribolus_ in the primitive Church, or wall which encompasseth the choir, was only raised as far as the elevation of the choir; [Footnote 318] which even to this day is observed in some churches: which was done that the people {63} seeing the clergy singing psalms, might follow their good example. But at this time as it were a veil or wall is suspended or interposed between the clergy and the laity, that they may not be able to behold each other: as if to say, in very deed, 'turn away mine eyes, lest they behold vanity.' [Footnote 319]

[Footnote 316: Exodus xxxiv, 33.]

[Footnote 317: 2 Corinth, iii, 15.]

[Footnote 318: There is much difficulty in this passage. We conceive
that Durandus while writing it had in his mind's eye the arrangement
of many of the Basilican churches, in which the choir was raised
over the crypt (called Confessio, or Martyrium), in which the ashes
of the saints were laid, and was detached from the nave by two
flights of steps, one on each side of the descent to this
undercroft. In this case the _appodiation_ would mean the elevation
of the choir, itself considered as a sufficient distinction from the
nave. The usual representations of Basilican churches, however,
always show some rails, or cancelli, besides this _appodiation_. The
learned Father Thiers devotes the third section of his 'Dissertation
sur la Clôture du Choeur des Eglises' to the consideration of this
passage. 'Guillaume Durand, Evêque de Mande, assure que dans la
Primitive Eglise, le choeur etait séparé de la Nef par une _muraille
d'appui_, afin que le peuple voiant la Clergé chanter les louanges
de Dieu en fût édifié. Mais comme il parle d'un fait beaucoup
éloigné de son tems, et qui n'est attache par aucun ancien auteur,
je ne pense pas que l'on doive faire grande fonds sur son
temoignage.' We suspect that Thiers is wrong in construing
_appodiatio_ by _muraille d'appui:_ the latter would well express
the real Basilican arrangement, with which the translator was
probably acquainted. Durandus, therefore, is wrong in his fact; and
Thiers wrong in his understanding of Durandus, as well as in the
theory stated in the next section, that 'Depuis Constantin le choeur
de quelques Eglises etoit distingue de la Nef par des tapisseries ou
des voiles.' For he grounds this chiefly on the next assertion of
Durandus about the use curtains, 'hoc tempore, vers la fin du 13
siecle.' If we did not know from facts that before this time
roodscreens were in ordinary use, the words of Durandus _velum aut
murus_ would show us that he means the _wall_ to be taken
metaphorically for a _veil_. And so Thiers may have seen, since he
concludes his section thus--' Mais peut être que Theodoret parle
des tapisseries et Durand des voiles qui convroient la Clôture du
Choeur par le dedans, et que sous ces tapisseries et ces voiles il y
avoit une veritable clôture de balustres, ou de muraillcs pleines.']

[Footnote 319: Psalm cxix (_Beati immaculati_), 37.]

36. But on Holy Saturday all the curtains are taken away, because on the Passion of the Lord the veil of the temple was rent: and by that thing the spiritual intelligence of the Law was revealed unto us, which till that time lay hid, as is said afore: and the door of the kingdom of heaven is opened, and power was given unto us, that we cannot be overcome of our carnal concupiscence, unless we ourselves do yield. But the veil which separateth the sanctuary from the choir, is drawn or lifted up at vespers on every Saturday of Lent: when the office of the Sunday is begun, that the clergy may be able to look into the sanctuary: because the Sunday commemorateth the Resurrection.

37. This therefore is done on the six Sundays of Lent: because there was no age in which joy, and that joy eternal, was not made in some sort manifest, that joy which is concealed in heaven, as is signified by that veil. Thence is it that we fast not on the Sundays, and this on account of the glory of the Resurrection. For the first Sunday signifieth the joy which our parents enjoyed in the Paradise before the fall. {64} The second Sunday signifieth the joy of the few who were preserved in the ark of Noah, when all else were drowned in the deluge. The third, the gladness of the children of Israel, when in the time of Joseph others were afflicted with famine. The fourth, their joy when they lived with all peace under Solomon. [Footnote 320] The fifth, their gladness when returning from the Babylonian captivity. The sixth, that of the disciples from the Resurrection to the Ascension: when the bridegroom was with them in presence.

[Footnote 320: 3 Kings iv, 20.]

38. In feasts likewise of nine lessons, [Footnote 321] when they occur in Lent, the before-mentioned veil is raised and lifted up. But this is not of the institution of the earliest times, because then no feast was celebrated in Lent. But then on whatever day a feast occurred, commemoration was made of it on the Saturday and Sunday following, according to the canon of Pope Martin; and so in the xiiith book of Burchardus. [Footnote 322] And all this on account of the sadness of that time. Afterwards the contrary use prevailed: that feasts of nine lessons occurring in Lent should be solemnly observed, and a fast nevertheless kept.

[Footnote 321: For an explanation of the whole Catholic system of
feasts, double, semi-double, and simple, the reader is referred to
the _Tracts for the Times_, vol. iii.]

[Footnote 322: S. Burchardus of Worms flourished in 1025: and is
not to be confounded with John Burchardus, who wrote an explanation
of the Mass for the use of the Venetian Church, which was published
in 1559.]

39. Again, on festivals curtains are hung up in churches, for the sake of the ornament they give; and that by visible, we may be led to invisible beauty. These curtains are sometimes tinctured with various hues, as is said afore: so that by the diversity of the colours themselves we may be taught that man, who is the temple of God, should be ordained by the variety and diversity of virtues. {65} A white curtain signifieth pureness of living: a red, charity: a green, contemplation: a black, mortification of the flesh: a livid-coloured, tribulation. Besides this, over white curtains are sometimes suspended hangings of various colours: to signify that our hearts ought to be purged from vices: and that in them should be the curtains of virtues, and the hangings of good works.

40. Moreover, on the Feast of the Nativity of the Lord some churches exhibit no hangings: some poor, and some good. Those which have none, signify our shame; for even if we are filled with the greatest joy at the birth of a Saviour, [Footnote 323] we ought not, however, to be without shame that such was our sin that the 'Son of God emptied Himself on our account, and took upon Him the form of a servant.' [Footnote 324] And on that account also we solemnise His Passion not with joy, but with a severe fast; whereas when we celebrate the passion of other saints we do it with gladness, and indulge ourselves somewhat in meat and drink, as shall be said in the sixth book. But our Lord's Passion is a source of shame to us on account of our sins. The saints, on the other hand, died not for our sins, but suffered for Christ. Those churches which on the Nativity suspend curtains of poor texture thereby typify that Christ did then 'take upon Himself the form of a servant, [Footnote 325 ] and was clothed in miserable rags. Those which employ richer hangings, set forth by them the gladness arising from the Birth of a King: and teach what manner of persons we ought to be in our reception of so great a Guest.

[Footnote 323: In accordance with this feeling, the first Psalm at
the second vespers of the nativity in the Benedictine Breviary is
the _De profundis_.]

[Footnote 324: Philip, ii, 7.]

[Footnote 325: Philip, ii, 7.]

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41. In some churches the altar at Easter-tide is decked with precious hangings, and veils of three colours are placed over it: red, pale, and black, which denote three seasons. When the first lesson and its response are finished, the black veil is removed; which signifieth the time before the Law. When the second lesson and its response are finished, the pale veil is removed: which signifieth the time of the Law. The third being finished, the red is removed, which setteth forth the time of Grace: that is, that by the Passion of Christ an entrance is administered unto us to the Holy of Holies and to eternal glory. But concerning the coverings and cloths of the altars we have spoken in our sections on the same.

42. On high feasts, the treasures of the church are brought forth on three accounts. Firstly, by way of safeguard: that it may be made manifest that he who hath them in charge hath been careful in his care of them. Secondly, for the more reverence of the solemnity. Thirdly, for the memory of their oblation; namely, for the commemoration of them that bestowed them on the church.

But in that the church is gloriously adorned within and not without, it is thereby signified that 'all its glory is from within.' [Footnote 326] For although its outward appearance be despicable, the soul which is the seat of God is illuminated from within: according to that saying, 'I am black but comely.' [Footnote 327] And the Lord saith to the Prophet: 'I have a goodly heritage.' [Footnote 328] Which the Prophet considering in his mind, saith, 'Lord, I have loved the beauty of Thine house': [Footnote 329] which is spiritually adorned by Faith, Hope, and Charity. Sometimes the church, both material and spiritual, hath need to be cleansed: concerning which in the seventh book.

[Footnote 326: Psalm xlv (_Eructavit_), 6.]

[Footnote 327: Cantic. i, 5.]

[Footnote 328: The bishop probably refers to Psalm xvi (_Conserva
me_), 6. The words in reality spoken by David are understood by him
as if spoken by the Almighty.]

[Footnote 329: Psalm xxvi (_Judica me_), 8.]

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In some churches two eggs of ostriches and other things which cause admiration, and which are rarely seen, are accustomed to be suspended: that by their means the people may be drawn to church, and have their minds the more affected.

43. Again, some say that the ostrich, as being a forgetful bird, 'leaveth her eggs in the dust': [Footnote 330] and at length, when she beholdeth a certain star, returneth unto them, and cheereth them by her presence. Therefore the eggs [Footnote 331] of ostriches are hung in churches to signify that man, being left of God on account of his sins, if at length he be illuminated by the Divine Light, remembereth his faults and returneth to Him, Who by looking on him with His Mercy cherisheth him. As it is written in Luke that after Peter had denied Christ, the 'Lord turned and looked upon Peter.' [Footnote 332] Therefore be the aforesaid eggs suspended in churches, this signifying, that man easily forgetteth God, unless being illuminated by a star, that is, by the Influence of the Holy Spirit, he is reminded to return to Him by good works.

[Footnote 330: Job xxxix, 14.]

[Footnote 331: Perhaps this custom was introduced by the Crusaders.
'As the ostrich is good for food, so, it seems, are its eggs: to say
nothing of their being objects of attention, as being used much in
the East by way of ornament; for they are hung up in their places of
public worship, along with many lamps.' Harmer's 'Observations,'
vol. iv, p. 336, who refers to Pococke's 'Travels,' vol. i, p. 31,
and imagines that Dr. Chandler, in his travels in Asia Minor, was
mistaken when he supposed that the Turkish Mosque of Magnesia was
ornamented with lamps pendent from the ceiling intermixed with balls
of polished ivory, p. 267. Ostrich eggs might easily be mistaken for
ivory balls. The following passage from De Moleon is curious: 'At
the conclusion of matins,' he says, speaking of the rites of S.
Maurice at Angers on Easter Day, 'two chaplains take their place
behind the altar curtains. Two corbeliers (_Cubiculares_) in
dalmatics, amices, and _mitellae_, with gloves on their hands,
present themselves before the altar. The chaplains chant. _Quem
quaeritis_? The corbeliers representing the Maries, reply, Jesum
_Nazarenum Crucifixum._ The others answer, _Resurrexit, non est
hic_. The corbeliers take from the altar _two_ ostrich eggs wrapped
in silk, and go forth, chanting, _Alleluia resurrexit_ Dominus,
_resurrexit Leo Fortis_, Christus, _Filius_ Dei.'--_Voyag. Lit._ p.
98. ]

[Footnote 332: S. Luke xxii, 61.]

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44. Now in the Primitive Church, the sacrifice was offered in vessels of wood, and common vests: for then were 'chalices of wood, and priests of gold': whereof the contrary is now. But Severinus, Pope, decreed that it should be offered in glass: [Footnote 333] but because such vessels were easily broken, therefore, Urban, Pope, and the Council [Footnote 334] of Rheims decreed that gold or silver vessels should be used: or on account of poverty, tin, which rusteth not: but not in wood nor in brass. Therefore it might not be in glass on account of the danger of effusion: nor of wood since being porous and spongy, it absorbeth the blood: nor of brass nor of bronze, the rust of which is unseemly.

[Footnote 333: See Martene, Tom. IV, ii, 9; the _Ducretum_, fol.
395.]

[Footnote 334: 'A.D. 874, Vid. Concil. Coll. Reg. Tom. I. p. 288.'
See also P. Tunoc. iv, Ep. ad Otton. Carel. xiii _Hardouin_ vii,
365.]

45. And note that the name of chalice is derived from the Old Testament: whence Jeremiah, 'Babylon is a golden chalice that maketh drunk the nations.' [Footnote 335] And David: 'In the hand of the Lord is a chalice, and the wine thereof is red': [Footnote 336] and in another place, 'I will receive the chalice of salvation, and will call on the name of the Lord.' [Footnote 337] Again, in the Gospel: 'Are ye able to drink the chalice that I shall drink?' [Footnote 338] And again, 'When He had taken the chalice He gave thanks.' [Footnote 339] A golden chalice signifieth the 'treasures of wisdom that be hid in Christ.' [Footnote 340] A silver chalice denoteth purity from sin. A chalice of tin denoteth the similitude of sin and punishment. For tin is as it were halfway between silver and lead: and the Humanity of Christ, albeit it were not lead, that is, sinful, yet was it like to sinful flesh. And therefore not silver: and although impassible for His own sin, passible He was for ours: since 'He thus took our infirmities, and bare our sicknesses.' [Footnote 341] Concerning the Chalice and the Paten we shall speak hereafter.

[Footnote 335: Jeremiah li, 7.]

[Footnote 336: Psalm lxxv (_Confitebimur_), 8.]

[Footnote 337: Psalm cxvi (_Dilexi_), 13.]

[Footnote 338: S. Matthew x, 22.]

[Footnote 339: S. Matthew xxvi, 27. ]

[Footnote 340: Coloss. ii, 3.]

[Footnote 341: S. Matthew viii, 17.]

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46. But if anyone, through cause of his little religion, should say that the Lord commanded Moses to make all the vessels of the Tabernacle for every use and ceremony whatever, of brass, as it is written in the eight and twentieth chapter of Exodus, and that precious vessels of this sort, 'could be sold for much, and given to the poor,' [Footnote 342] he is like Judas, and acteth contrarywise to the woman which brought the alabaster box of ointment. This we reply to him: not that God is better pleased with gold than brazen ornaments: but that when men offer to God that which they value, by the worship of the Almighty they vanquish their own avarice. Moreover, these offices of divine piety be moral, and significative of future glory. Whence also under the old law the priest's garments were to be made of gold, and jacinth, and purple, and scarlet twice dyed, and woven linen, and other precious things: that thereby might be made manifest with how great diversity of virtues the priest ought to shine: and it was also commanded that the altar, and the mercy-seat, and the candlestick, and the other vessels and ornaments of the altar should be made of gold and silver. The Tabernacle also was to be made of divers precious materials, as is said in our section concerning the Church. Also the high priest under the Law used divers precious ornaments, as we have both noted, and shall hereafter note.

[Footnote 342: S. Matthew xxvi, 9.]

47. Moreover, it was forbidden in the Council of Orleans, [Footnote 343] that the divine ornaments should be used for the adorning of nuptials, lest they should be polluted by the touch of the wicked, or by the pomp of secular luxury. By this doubtless it is shown that a chasuble, or any other ornament intended for the divine mysteries, must not be made out of a common person's vest.

[Footnote 343: A.D. 535. Decret. viii. See also the Council of
Tribur. A. D. 1036.]

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48. Stephen, Pope, moreover, forbade that anyone should have the use of the vests of a church, or of those things which be touched by religious men alone, for other purposes: lest that vengeance come upon these transgressors which befel Belshazzar the King. [Footnote 344 ]

[Footnote 344: Daniel v, i.]

49. Also Clement, Pope, forbade that the dead should be buried or wrapped or covered, they or their bones, with the altar cloth, or covering for the chalice, or napkin wherewith the priest washeth his hands before consecrating.

50. But when the palls, that is the corporals, and the veils, that is the ornaments of the altar, or the curtains hanging over it shall have become unclean, the deacons with their ministers shall wash them within the sanctuary, and not without. But when the veils, used in the service of the altar, be washed, let there be a new basin. And let the palls, that is the corporals, be washed in another basin. And let the veils for doors, that is, the curtains which are hung up in churches at high feasts, and in Lent, be washed in another. This is it that was decreed of the Council of Lerida: [Footnote 345] that for washing the corporal, and the altar palls certain vessels be appropriated and kept within the church: in which nothing else ought to be washed. But according to the afore-mentioned Clement, if the altar pall or covering, or the covering of the seat where the priest sitteth, in his holy vests, or of the candlestick, or the veil, that is the cloth or curtains hanging over the altar be consumed by old age, let them be burnt; and their ashes cast in the baptistery, or on the wall, or in the drains, where there is no treading of passers by. And note that ecclesiastical ornaments be consecrated: as shall be said under the section of Consecrations and Unctions.

[Footnote 345: 'A.D. 524, Concil. Coll. Reg. Tom XI, p. 24.']

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