| 109. Crosses and Crucifixes. | ||||
Jac. Gretser. (R. C.): De cruce Christi. 2 vols. Ingolst. 1608. Just. Lipsius: De cruce Christi. Antw. 1694. Fr. Muenter: Die Sinnbilder u. Kunstvorstellungen der alten Christen. Altona, 1825. C. J. Hefele (R. C.): Alter u. aeteste Form der Crucifixe (in the 2d vol. of his Beitraege zur Kirchengesch., Archaeologie u. Liturgik. Tuebingen, 1864, p. 265 sqq.). | ||||
The cross, as the symbol of redemption, and the signing of the cross upon the forehead, the eyes, the mouth, the breast, and even upon parts of clothing, were in universal use in this period, as they had been even in the second century, both in private Christian life and in public worship. They were also in many ways abused in the service of superstition; and the nickname cross-worshippers,1 which the heathen applied to the Christians in the time of Tertullian,1 was in many cases not entirely unwarranted. Besides simple wooden crosses, now that the church had risen to the kingdom, there were many crosses of silver and gold, or sumptuously set with pearls and gems. | ||||
The conspicuous part which, according to the statements of Eusebius, the cross played in the life of Constantine, is well known: forming the instrument of his conversion; borne by fifty men, leading him to his victories over Maxentius and Licinius; inscribed upon his banners, upon the weapons of his soldiers in his palace, and upon public places, and lying in the right hand of his own statue. Shortly afterwards Julian accused the Christians of worshipping the wood of the cross. The sign of universal detestation, says Chrysostom,1 the sign of extreme penalty, is now become the object of universal desire and love. We see it every where triumphant; we find it on houses, on roofs, and on walls, in cities and hamlets, on the markets, along the roads, and in the deserts, on the mountains and in the valleys, on the sea, on ships, on books and weapons, on garments, in marriage chambers, at banquets, upon gold and silver vessels, in pearls, in painting upon walls, on beds, on the bodies of very sick animals, on the bodies of the possessed [ to drive away the disease and the demon ], at the dances of the merry, and in the brotherhoods of ascetics. Besides this, it was usual to mark the cross on windows and floors, and to wear it upon the forehead. According to Augustine this sign was to remind believers that their calling is to follow Christ in true humility, through suffering, into glory. | ||||
We might speak in the same way of the use of other Christian emblems from the sphere of nature; the representation of Christ by a good Shepherd, a lamb, a fish, and the like, which we have already observed in the period preceding. | ||||
Towards the end of the present period we for the first time meet with crucifixes; that is, crosses not bare, but with the figure of the crucified Saviour upon them. The transition to the crucifix we find in the fifth century in the figure of a lamb, or even a bust of Christ, attached to the cross, sometimes at the top, sometimes at the bottom. Afterwards the whole figure of Christ was fastened to the cross, and the earlier forms gave place to this. The Trullan council of Constantinople (the Quinisextum), a.d. 692, directed in the 82d canon: Hereafter, instead of the lamb, the human figure of Christ shall be set up on the images. But subsequently the orthodox church of the East prohibited all plastic images, crucifixes among them, and it tolerates only pictures of Christ and the saints. The earlier Latin crucifixes offend the taste and disturb devotion; but the Catholic art in its flourishing period succeeded in combining, in the figure of the suffering and dying Redeemer, the expression of the deepest and holiest anguish with that of supreme dignity. In the middle age there was frequently added to the crucifix a group of Mary, John, a soldier, and the penitent Magdalene, who on her knees embraced the post of the cross. | ||||