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The work is a scholarly treatise on the symbolic meaning of church architecture and its ornamentation, presented as a translation of Guillaume Durand’s first book of the Rationale Divinorum Officiorum. The opening pages explain that the author wrote at a time when “Christian Architecture had not attained its full glory,” and that his essay seeks to prove that Catholic architecture is inherently symbolic, answering objections and illustrating points with examples from contemporary churches. It also provides extensive notes and an appendix drawing on sources such as Martene, Beleth, and Isidore of Seville, while offering biographical details about Durand’s life, his ecclesiastical career, and the manuscript’s early print history. The introductory essay frames the study of church design as a quest to uncover the “sacramental” principle that distinguishes ancient from modern churches.
The voice is that of a 19th‑century scholar‑translator, combining meticulous historical commentary with a reverent, didactic tone. The style is dense, footnote‑laden, and rich in theological and architectural terminology, reflecting the period’s penchant for exhaustive citation. Readers with an interest in medieval theology, the history of liturgical art, or the evolution of Gothic architecture will find the text rewarding, while those seeking a light narrative should look elsewhere.
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Written, however, at a period when Christian Architecture had not attained its full glory, it necessarily leaves untouched many arrangements of similar tendency, subsequently adopted; addressed to those who had not yet learnt to doubt everything not formally proved, it assumes many points which may now seem to require confirmation: and composed for the use of a clergy habituated to a most figurative ritual, it passes over much as well known, which is now forgotten or neglected. On these accounts we have considered it necessary to prefix an Essay on the subject; in which we have endeavoured to prove that Catholic Architecture must necessarily be symbolical; to answer the more common objections to the system; and to elucidate it by reference to actual examples, and notices of the figurative arrangements of our own churches. We have also added notes, where any obscurity seemed {viii} to require explanation; and we have, both in them and in the Appendix, thrown together such passages from Martene, Beleth, S. Isidore of Seville, Hugo de S. Victore, and other writers, as tended to explain and to enforce the remarks of Durandus.
With reference to the author himself, but little is known; and that little has been told before.
William Durandus was born at Puy-moisson, in Provence, about the year 1220. A legend of his native country is told in the present work. [Footnote 1] He became the pupil of Henry de Luza, afterwards Cardinal of Ostia; and taught canon law at Modena. On this subject he composed a most learned work, the Speculum Juris; from which he obtained the title of Speculator: as also another treatise called Repertorium Juris: and a Breviarium Glossarum in Textum Juris Canonici. His high attainments marked him [Footnote 2] out for the office of Chaplain to Pope Clement IV.
Hic jacet egregius doctor proesul Mimatensis, Nomine Duranti Guillelmus regula morum: Splendor honestatis et casti candor amoris Altum consiliis spatiosum mente serenum Hunc insignibat immotum turbine mentis. Mente pius, sermone gravis, gressuque modestus, Extitit infestus super hostes more leonis: Indomitos domuit populos, ferroque rebelles, Impulit, Ecclesiae victor servire coëgit. Comprobat officiis, paruit Romania sceptro Belligeri comitis Martini tempore quarti: Edidit in Jure librum, quo jus reperitur: Et Speculum Juris, et patrum Pontificale: Et Rationale Divinorum patefecit: Instruxit clerum scriptis, monuitque statutis: Gregorii deni, Nicolai scita perenni Glossa diffudit populis, sensusque profundos: Jure dedit mentes et corpus luce studentum: Quem memori laude genuit Provincia dignum: Et dedit a Podio Missone diaecesis ilium: Inde Biterrensis, praesignis curia Papae: Dum foret ecclesiae Mimatensis sede quietus, Hunc vocat octavus Bonifacius; altius ilium Promovet; hic renuit Ravennae praesul haberi. Fit comes invictus simul hinc et marchio tandem, Et Romam rediit: Domini sub mille trecentis (Quatuor amotis) annis: tumulante Minerva. Surripit hunc festiva dies, & prima Novembris. Guadia cum Sanctis tenet Omnibus inde sacerdos: Pro quo perpetuo datur haec celebrare capella.
The Rationale was the first work, from the pen of an uninspired writer, ever printed. The editio princeps appeared at the press of Fust in 1459; being preceded only by the Psalters of 1457 and 1459. It is, of course, of the most extreme rarity: the beauty of the typography has seldom been exceeded. Chalmers mentions, besides this, thirteen editions in the fifteenth, and thirteen in the sixteenth century: all of them are very rare.
The editions with which we are acquainted, are those of Rome 1473; Lyons 1503, 1512, 1534, 1584; Antwerp 1570; Venice 1599, 1609. The translation has been made from the editions of 1473 and 1599. The former is a magnificent specimen of typography: the words are excessively contracted; and there are double columns to each page. Our copy is partially illuminated; and the binding is ornamented with a border of the Evangelistic Symbols. The latter contains also the first edition of the work of Beleth, and is a reprint of Doard's Lyons edition of 1565. Doard dedicated it to his brother, Bishop of Marseilles; and prefixed a Preface, in which he bestows a well-merited eulogium on Durandus, and mentions the care taken in 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.
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.
A. ARGUMENTS FOR SYMBOLISM.
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.
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.
B. EXAMPLES OF SYMBOLISM. 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.
C. OBJECTIONS ANSWERED. 1. Inequality of type and antitype. 2. Difference of Symbolism in the same arrangement. 3. Mechanical origin.
D. HISTORY OF SYMBOLISM. 1. Norman; as symbolising facts. 2. Early English; as symbolising doctrines. 3. Decorated; as symbolising the connection of doctrines. 4. Perpendicular; as symbolising the progress of Erastianism. 5. Flamboyant, etc. 6. Post Reformation Symbolism.
E. CONCLUSION. Contrast between a modern and ancient Church.
The study of Church Architecture has within the last few years become so general, and a love for it so widely diffused, that whereas, in a former generation it was a task to excite either, in the present it is rather an object to direct both. An age of church-building, such as this, ought to produce good architects, not only from the great encouragement given to their professional efforts, but from the increasing appreciation of the principles and powers of their art. And yet it cannot be denied, however we may account for the fact, that (at least among those for whom we write, the members of our own communion), no architect has as yet arisen, who appears destined to be the reviver of Christian art. It is not that the rules of the science have not been studied, that the examples bequeathed to us have not been imitated, that the details are not understood. We have (though they are but few) modern buildings of the most perfect proportions, of the most faultless details, and reared with lavish expense. It is that there is an undefined--perhaps almost undefinable--difference between a true 'old church,' and the most perfect of modern temples. In the former, at least till late in the Perpendicular era, we feel that, however {xx} strange the proportions, or extraordinary the details, the effect is church-like. In the latter, we may not be able to blame; but from a certain feeling of unsatisfactoriness, we cannot praise.
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