Chapter 3

The discharge of this work, to do which the Minister is placed under vow, and for which he is given authority, is one of his most solemn obligations. The pulpit should, then, ever remind us of the loving care on the part of Christ and His Church for {47} our soul's health and our growth in grace, which is thus expressed.

But it should remind us of something else, also,--of a duty on our part.

In "The Form and Manner of Ordering Priests" there is a prayer just before the Benediction, of which this is a part: "Grant that we may have grace to hear and receive what they shall deliver out of Thy most holy Word, or agreeable to the same, as the means of our salvation." And so, again, we pray in the Litany, "That it may please Thee to give to all Thy people increase of grace to hear meekly Thy Word, and to receive it with pure affection, and to bring forth the fruits of the Spirit." This is the way the Church teaches us to think and to pray concerning our duty and privilege in reference to the instruction and exhortation which divine love sends to us from the pulpit.

The pulpit stands, then, for something God's love does for us: "Preach the gospel." It stands also for something God's love demands from us: "Take heed how ye hear."

_The Choir- and Clergy-Stalls._--It will be observed that the stalls for the clergy and choristers are generally placed on the two sides of the choir and face each other. The south side is called the {48} "decani side" and the north the "cantoris side," as being, in cathedrals, the respective sides of the dean and the cantor (or precentor).

By this arrangement proper provision is made for the clergy as leaders of the worship of the congregation and for the choir as leaders of its praise in song. The singing in our churches is intended to be "common praise," and this arrangement of the choristers marks their office as simply to lead it. They do not sing _to_ the congregation; they sing _with_ or _for_ them _to_ Almighty God. The people should sing with them, and not listen merely, as if attending a concert. Even when, as in a _Te Deum_ or anthem, the music is too difficult for the congregation to join in it, the singers are still rendering to God the praises of all present, and all should take part in it in thought and in heart.

Because of this ministry as leaders of praise the choir are vested. Their vestments are the cassock and the cotta--a modification of the surplice worn by the clergy.

Of the _Litany-desk_ we have already learned in the section in reference to the nave.

_The Bishop's Chair._--In many churches there is found a "Bishop's Chair." It has been felt as proper, in view of the dignity of the office of the {49} Bishop, to provide a special seat for him, and to have it occupied by no one else. In parish churches it is placed within the sanctuary at the north or "gospel" side of the Altar, facing the people. In cathedrals it is called a "Throne," and its place is just without the rail on the decani side of the choir, facing like the choir-stalls.

Wherever placed, it is a reminder of the highest order in the Christian Ministry, and of the doctrine of Holy Orders our Church holds and acts upon. In the Preface to the Ordinal the Church makes this declaration: "It is evident unto all men, diligently reading Holy Scripture and ancient Authors, that from the Apostles' time there have been these Orders of Ministers in Christ's Church,--Bishops, Priests, and Deacons.... No man shall be accounted or taken to be a lawful Bishop, Priest, or Deacon, in this Church, or suffered to execute any of the said Functions, except he be called, tried, examined, and admitted thereunto, according to the Form hereafter following, or hath had Episcopal Consecration or Ordination." What the Church here insists upon is what is commonly called the "Apostolic Succession." This rule she rigorously applies. No minister of any of the denominations, no matter how learned and pious he may be, can {50} serve at her Altars until he has been ordained by a Bishop and is therefore commissioned by that Episcopal or Apostolic authority upon which the Church has always insisted.

The Bishop's Chair may remind us, then, of the Bishop's office and authority to ordain and to govern, of its essential importance in the life of the Church, and of how our Church's lineage and the authority of her Ministry are traced, through the succession of Bishops, directly back to the Apostles, and through them to Christ Himself, "the Bishop and Shepherd of our souls."

{51}

Symbolic Ornaments of the Church

The use of symbols for conveying and enforcing truth goes back to earliest ages. God said to Noah, "I do set My bow in the cloud, and it shall be for a token of a covenant between Me and the earth."

The ritual and appointments of the Tabernacle and its worship were an elaborate system of symbolism.

So, also, we find the use of symbolism in Christianity. The need of appealing to the eye as well as to the ear, by visible signs for sacred truths, led the early Christians to employ a number of such symbols as an effective means of imparting instruction. But their use was not wholly a matter of choice. Anxious to seek and to support one another {52} under persecution, they were compelled to find some common signs of recognition which might be known only to themselves, and under which their new Faith might be safely concealed.

_The Cross._--The Cross comes first in order. It is the especial emblem of Christianity. "It glitters on the crown of the monarch. It forms the ensign of nations. It crowns alike the loftiest spires of Christendom and the lowliest parish churches. It marks the resting-place of the departed who have died with faith in its efficacy, as it was the sign in Baptism of their admission to the kingdom of the Crucified." It is the symbol of Christ's atonement and of the salvation of men, and represents the Christian Faith, its demands and its triumphs. As might be expected, many fantastic stories were woven about this symbol in the middle ages. Yet back of their extravagance was often a true feeling. We see this even in the absurd legend of the tree from which our Saviour's cross was made.

This legend was as follows: "for four hundred and thirty-two years after his expulsion from Paradise, Adam had tilled the ground in the valley of Hebron, when he felt his end approaching, and determined to send his son Seth to the gates of Paradise to demand from their keeper, 'the angel called {53} Cherubim,' the oil of mercy which had been promised to Adam when he was driven from the garden. Seth accordingly set forth, finding his way by the footprints of Adam and Eve, upon which no grass had grown since they passed from Paradise to Hebron.

"The angel, after hearing the message, ordered Seth to look beyond the gate into the garden and to tell him what he saw. He beheld a place of inexpressible delight and beauty, with the four great rivers proceeding from a fountain in the center; and, rising from the edge of the fountain, an enormous tree, with wide-spreading branches, but without either bark or leaves. He was ordered to look a second time, when he saw a serpent twisted round the tree; and a third time, when the tree had raised itself to heaven, and bore on its summit a Child wrapped in glittering vestments.

"It was this Child, said the angel, who would give to Adam the oil of mercy when the due time should come. Meanwhile the angel gave Seth three seeds from the fruit of the tree of which Adam had eaten. These were to be placed in the mouth of Adam before his burial, and three trees would spring from them--a cedar, a cypress, and a pine. The trees were symbolical of the Holy Trinity."

{54}

"It happened as the angel foretold. The trees were hardly a foot above the ground in the days of Abraham. Moses, to whom their true nature was revealed, took them up carefully, carried them with him during the years of wandering in the desert, and then replanted them in a mysterious valley named Comprafort (Comfort?). From Comprafort David was directed to bring them to Jerusalem. He planted them close to a fountain, and within thirty years they had grown together so as to form a single tree of wonderful beauty, under the shade of which David composed his psalms and wept for his sins. In spite of its beauty, Solomon cut it down in order to complete his temple, for which a single beam was wanted, of a size such as no other tree could furnish. But in fitting the beam to its place, it was found, after repeated trials, either too long or too short, and this was accepted as a sign that it was not to be so employed."

It was then, says one version of the story, reverently preserved in the temple. According to another version, when it was found too short or too long "it was flung aside into a certain marsh, where it served as a bridge. But when the Queen of Sheba came to Jerusalem to hear the wisdom of Solomon, and was about to cross the marsh, she {55} saw in a vision how the Saviour of the world was to be suspended on that tree, and so would not walk over it. It was buried in the earth on the spot where the Pool of Bethesda was afterward made, so that it was not only the descent of the angel, but the virtues of the buried wood, which gave to the water its healing qualities. At the time of the passion the wood rose and floated on the surface. The Jews took it to make the cross of our Lord."

More attractive is the legend of how the cross was found, deeply buried in the ground at Jerusalem, by St. Helena, the mother of Constantine, the first Christian emperor. All three crosses were found, according to the story, and that of our Lord was recognized by certain miracles which it wrought on those who touched it.

In representations of the cross we trace two principal forms, the Latin and the Greek cross, from which a great variety, with various significations, have been produced.

The _Latin_ or _Passion Cross_ has the lower limb considerably longer than the other three. "It is doubtless most nearly the shape of the very instrument on which Christ suffered, {56} and is therefore most suitable to symbolize the Atonement and to express suffering." When it is placed on steps it is called a "Calvary cross." The steps are generally three in number, and are said to typify faith, hope, and charity, the great Christian virtues.

When all four arms are of equal length it is a _Greek Cross_, the cross in most frequent use among Eastern Christians. "The Latin cross suggests the actual form, while the Greek cross is idealized, the Greeks being essentially an artistic and poetic race." "The Greek cross is a symbol of the spread of the Gospel and of its triumphs in the four quarters of the world. It is the usual form wherever it is intended to express victory or is used as an ornament."

Another interesting form of the cross is the _Tau-cross_, so called because shaped like the Greek letter tau (T). The figure found in the tau-cross was the symbol of eternal life with the ancient Egyptians. The early Christians of Egypt adopted it and at first used it instead of other forms of the cross. It is yet seen in the early Christian sepulchers of that country. "It has been urged, with {57} at least great probability, that this symbol of life was the form made by the children of Israel in blood upon their door-posts when the angel of death passed through the land of Egypt to smite the first-born, and it was perhaps the form of the cross on which the brazen serpent in the wilderness was lifted up."

It is known, from these associations, as the cross of the Old Testament and as the "anticipatory cross"; also as the "cross of St. Anthony," the great hermit of Egypt and the father of monasticism.

It is sometimes called the "cross potent" from its shape, "potent" being an old English word for a crutch. It is then said to signify the Cross as the sure support of all who trust in it.

Four tau-crosses joined foot to foot form a "Jerusalem cross." Such a cross was part of the armorial bearing of the first Christian king of Jerusalem. The four conjoined tau-crosses, forming a Greek cross, are said to be symbolical of the displacement of the Old Testament by the New, the Law by the Gospel.

{58}

Many forms of the cross originated in the wars of the Cross, the crusaders in their eastward wanderings engrafting many variations upon the original Greek cross. Many of these heraldic crosses tell some story of religious feeling. In their varied and fanciful forms the simple faith and holy purpose out of which they sprang may yet be traced.

The "cross moline" is so named from resemblance to the moline, or crossed iron, in the center of the upper millstone. Its ends are divided and curved backward. As they are turned in all directions, they are said to express the universal diffusion of the blessings of the Cross; or, as they decline both to the right and the left, they express willingness to do exact justice and give to all their due.

The "cross recercele" resembles the cross moline, but with its floriations more expanded.

{59}

The "cross bottone" (budded) or "trefle" (like trefoil), the "cross patonce" (like the paw of the ounce, or panther), and the "cross flory" (like the fleur-de-lis), all with limbs ending in threefold figures, have evident reference to the Holy Trinity.

The "cross pommee" has ends terminating in circles suggestive of apples, as the name shows. It is said to express the fruitful reward of devotion to the Cross.

{60}

The "cross crosslet" is formed of four Latin or Passion crosses placed foot to foot.

It is said that the "cross fitche" (sharpened and so fixable in the ground) was carried in pilgrimages so that it might be readily set up while performing devotions.

The "cross patte" (broad-footed) is much like the "Maltese cross," the cross of Knights Templars and Hospitalers, which differs from it simply in having its extremities indented or notched. The eight points thus formed are said to symbolize the eight Beatitudes of our Lord.

The "floriated cross," which is developed in many ornamental forms, as the cross bursting into bloom or adorned with garlands, alludes to the triumph of Christ and to our future triumph and glory through Him. It symbolizes also our holy religion growing with perpetual vitality.

One of the most singular, as well as most ancient, of the many forms and modifications of the cross is the "fylfot." It is found, probably as a disguised form of the cross, on the tombs in the catacombs. {61} Its use illustrates the adoption by the early Christians, as in the case of the tau-cross, of prechristian symbols. By its employment they simply "diverted to their own purpose a symbol centuries older than the Christian era, a symbol of early Aryan origin, found in Indian and Chinese art, and spreading westward, long before the dawn of Christianity, to Greece and Asia. It was on the terra-cotta objects dug up by Dr. Schliemann at Troy, and conjectured to date from 1000 to 1500 B.C." It is thought to represent in heathen use a revolving wheel, the symbol of the great sun-god, or to stand for the lightning wielded by the omnipotent deity, Manu, Thor, or Zeus. The Christians saw in it a cross concealed from the eyes of their heathen enemies. The fylfot is frequently found in the Greek Church on the vestments of the clergy. The Greek fret or key pattern, with which all are familiar, is a decorative development of the fylfot.

Another interesting form of the cross is that known as the "cross of Iona" or "Irish cross." It is said to be the earliest form known in {62} Great Britain and Ireland. The antique wayside crosses are of this shape. "Because this style of cross partakes more of Greek character than of Latin, it has been contended that it argues an Eastern rather than Western origin for the introduction of Christianity into Great Britain." The circle is the emblem of eternity, as having neither beginning nor end, and when combined with the cross, as in this form, it speaks of the perpetuity of the Christian faith and the eternity of its hope.

The "St. Andrew's cross," in form like the letter X, conveys the idea of humility as well as that of suffering. When St. Andrew was condemned to be crucified, he begged that his cross might be unlike that on which his Lord had died, not deeming himself worthy to die on a cross of the same form as that on which He had suffered.

There is a cross peculiar in form, and known as the "Canterbury cross." It is in the shape of the letter Y, and is usually seen only upon the vestments of the clergy. The ornamentation of the chasuble is commonly of this form. It is embroidered on the chasuble of St. Thomas of Canterbury, which is still preserved in the Cathedral {63} of Sens, in France. Its shape brings to mind the inclination of our Saviour's arms--the lifting up of His hands--as He offered Himself in sacrifice on Calvary.

_Symbols of the Holy Trinity._--The equilateral _Triangle_ is perhaps the most familiar emblem of the Holy Trinity. The equality of the three divine Persons in the Godhead is represented by the equal sides or the equal angles of the triangle.

The _Trefoil_ is also an emblem of the Trinity. It is a representation of the common clover, or shamrock, as the Irish call it. The legend of the conversion of Ireland says that St. Patrick was preaching on the hillside, and wishing to illustrate from nature the sublime doctrine of the Trinity to his pagan hearers, he bent down and plucked a piece of shamrock at his feet, and held it up to show how what was three, in one sense, might be one in another.

The unity of the Persons in the one Godhead is sometimes represented by intersected triangles, or by the trefoil placed under a triangle.

The truth of the Trinity is also suggested by any {64} threefold arrangement in the various forms of the ornamentation.

The figure known as the _triquetra_, made by the interlacing of three portions of circles, is also symbolical of the Holy Trinity. This is a very ancient emblem, and is found with frequency upon the stone crosses erected in the early days of Christianity in Great Britain. It is sometimes used in ornamentation of the dress of our Lord or of the Evangelists.

From the thirteenth century we have the symbol of the equal and interlacing _Circles_. "The three equal circles symbolize the equality of the three Persons in the Trinity, the binding together in one figure the essential unity, while the circular form signifies a never-beginning, never-ending eternity." The word _trinitas_, used in this symbol, may itself {65} be divided into three syllables. One of these syllables is placed in each circle; but they have no perfect meaning, and will not form any word, unless united. In the space left vacant by the intersection of the circles the word _unitas_ is placed.

From the sixteenth century we have another device setting forth the doctrine of the Trinity. This is a triangle terminating at the corners in three circles, and in the center another circle with lines connecting it with the circles at the corners. A legend is combined with the figure, which serves to explain it. The English equivalent of the Latin words is as follows: _Deus_, God; _Pater_, the Father; {66} _Filius_, the Son; _Sanctus Spiritus_, the Holy Ghost; _est_, is; _non est_, is not.

_Symbols of the father Almighty._--For the first four centuries the only symbol employed to represent God the Father Almighty was a _hand_ issuing from clouds, or reaching down in benediction from heaven.

A symbol of much later origin is a triangle with the word "Jehovah," in Hebrew letters, inscribed within it and placed in the center of a radiating circle, or halo, symbolic of eternity.

_Symbols of our Lord._--While the cross was in {67} constant use by the early Christians, no effort was made at direct representation of our Saviour's sufferings. The crucifix was not introduced until five centuries had passed. Resort was had instead to the use of symbols.

{68}

Several of these were derived from Holy Scripture. The most common was the figure of the _Good Shepherd_, a picture drawn from our Lord's own description of His loving care and self-sacrifice. Another was derived from the words of St. John the Baptist, "Behold, the Lamb of God!" By this symbol, known as the _Agnus Dei_, our Lord is represented by the figure of a lamb--often with a nimbus, or glory, about the head--bearing a cross, the symbol of His sacrifice, or a banner, the sign of His triumph.

{69}

The _Alpha and Omega_, the first and last letters of the Greek alphabet, are used as the emblem of the eternity of our Lord: "I am Alpha and Omega, the beginning and the end, the first and the last."

The _Star_ is a symbol of Christ. It owes its origin to His own words, "I am the root and the offspring of David, and the bright and morning star." It was by the leading of a star that God manifested His only begotten Son to the Gentiles. The five-pointed star commonly represents the star of Bethlehem. It is a Christmas and Epiphany emblem.

This star is sometimes called the "pentalpha," as the crossing of its lines suggests five A's. It was used in ancient times as a magic talisman against the powers of witchcraft. The Greek Christians at one time placed it, instead of the cross, at the beginning of inscriptions.

The six-pointed star is said to symbolize the Creator, as, according to the old alchemists, the double triangle of which it is composed represents the elements of fire and water.

{70}

The seven-pointed star has reference, it is said, to St. John's words in the Revelation: "I beheld, and, lo, in the midst of the throne and of the four beasts, and in the midst of the elders, stood a Lamb as it had been slain, having seven horns and seven eyes, which are the seven Spirits of God sent forth into all the earth."

A star of nine points has allusion to St. Paul's enumeration of the fruits of the Holy Spirit: "The fruit of the Spirit is love, joy, peace, long-suffering, gentleness, goodness, faith, meekness, temperance."

An interesting symbol of our Saviour is that of the _Pelican_, which, the old naturalists said, was accustomed to tear open its breast in order to feed its young with its own blood. So the blood shed on Calvary gives life to the Church.

The _fish_ was also a very early symbol of our Lord. It was observed that the five letters of the Greek word for a fish were, taken separately, the initials in Greek of the words "Jesus Christ, Son of God, Saviour." In this way the fish became a symbol of our Saviour.

The pointed oval, or vesica, is the conventionalized form of the fish. Ecclesiastical seals are commonly made in this form. It represents {71} in rude outline a fish before the fins and tail are added.

It is thought by some that the Gothic or pointed arch is derived from this symbol, being simply the upper half of a vesica.