We know, as a fact, that from the earliest times, baptisteries and fonts were octagonal. We know also that the reason assigned, if not by S. Ambrose himself at least by one of his contemporaries, for this form was, that the number eight was symbolical of Regeneration. For as the old Creation was complete in seven days, so the number next ensuing may well be significative of the new.
Now none can deny that very much the greater number of fonts are in this shape. To prove this we will refer to those selected by the Cambridge Camden Society in the appendix to the second edition of their 'Few Words to Church-Builders.' There we find.
In Norman 15 43 Early English 19 30 Decorated 24 1 Perpendicular 57 2 Total 115 76
Now, it is to be remembered, that the superior convenience of a cylindrical or circular form, together with the wont of Norman architects rather to symbolise facts than doctrine, accounts for the comparatively small number of octagonal fonts in that style: in later ages their preponderance is overwhelming.
The symbolism sculptured on the sides of the font hardly falls under our consideration in this place. And besides, it has been fully detailed in the publications of the Cambridge Camden Society, and of Mr. Poole. Whether the general octagonal uses of piers may not arise from a similar design, we do not pretend to decide.
One of the most apposite illustrations in _corbels_, consists in three fishes intertwined in an equilateral triangle; and thus typifying our regeneration in the Three Persons of the Ever-Blessed Trinity. For it need not be said, that the fish is the emblem of the Christian, as being born again of water. The mystical vesica piscis of this form () wherein the Divinity, and (more rarely) the Blessed Virgin are represented has no reference, except in its name to a fish; but represents the almond, the symbol of virginity, and self-production.
We will notice in the third place, the symbolical representation of the great doctrine of the Atonement, in the ground lines and general arrangement of our churches.
As soon as ever Christianity possessed temples of her own, the cruciform shape was, we have seen, sometimes adopted. And so, as we all know, has it continued down to the present day. England, perhaps, has fewer examples of cross churches than any other country: the proportion of those which bear this shape being not so much as one in ten. In France, on the contrary, the ratio would probably be inverted. Into the reason of this remarkable difference we shall not now inquire: but will merely remark, that many churches which do not, in an exterior view, appear cruciform, are nevertheless, from their internal arrangements, really so. The transepts do not project beyond the aisles: but have distinct transept arches, and a window of much larger dimensions than those in the aisles. This principally occurs in city churches, or where the founders were confined for want of room. And this is the case as well in churches which have aisles to the chancel, as in Godalming, Surrey, as where the nave alone has them, { lxxxiv} as in Holy Rood, Southampton. They will be distinguished readily on the outside by the northern and southern gable. In some cathedral churches, there is a double cross: in York, this perhaps signifies the metro-political dignity of that church; in other cases, it was probably merely a method of imparting greater dignity to the building. Some churches--though they are not frequent--are in the form of a Greek Cross: that is, the four arms are all of equal length. Darlington, Durham, is an example: in this case there is a central tower. In some, as at Westminster, Gloucester, and S. Albans, the choir runs westward of the transept; in Seville, almost the whole of the choir is locally in the nave; in others, as Ely, it does not extend westward so far. These peculiarities, curious in themselves, do not affect the symbolism: and probably no modification of meaning is to be attached to them.