By M.D., By Thomas Inman
The call for which has sprung up for this paintings has brought about the writer to make it extra whole than it was once initially. however it couldn't be made ideal with out being extended right into a quantity whose dimension will be incompatible with cheapness. whilst each determine would offer a textual content for a protracted discourse, a detailed cognizance is needed lest an outline could be built right into a dissertation. during this paintings, the writer is obliged to restrict himself to the reason of symbols, and can't release out into old and smooth faiths, other than in as far as they're typified via definite traditional indicators.
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Extra resources for Ancient Pagan and Modern Christian Symbolism
PLATE XI. —With two exceptions, Figs. 4 and 9,—exhibits Christan emblems of the trinity or linga, and the unity or yoni, alone or combined; the whole being copied from Pugin’s Glossary of Ecclesiastical Ornament (London, 1869). Fig. , and indicates a * There is an able essay on this subject in No. 267 of the Edinburgh Review— which almost exhausts the subject—but is too long for quotation here. 15 double union of the trinity with the unity, here represented as a ring, l’anneau. Figs. 2, 3, are from Pugin, plate xiv.
The tree symbolises the arbor vitæ, the life-giving sprout; and the ark is a symbol of the womb. The third figure, where a man rests upon a rock and dolphin, and toys with a mother and child, is equally suggestive. The male is repeatedly characterised as a rock, hermes, menhir, tolmen, or upright stone, the female by the dolphin or fish. The result of the junction of these elements appears in the child, whom both parents welcome. The fourth figure represents two emblems of the male creator, a man and trident, and two of the female, a dolphin and ship.
Within each limb a symbol of the trinity is seen, each of which is associated with the central ring. Fig. , and represents the arbor vitæ, the branch, or tree of life, as a triad, with which the ring is united. It has been said by some critics that the figures above referred to are mere architectural fancies, which never had pretensions to embody a mystery; and that any designer would pitch upon such a style of ornamentation although profoundly ignorant of the doctrine of the trinity and unity.