r.
 
 THE ART 
 
 OF 
 
 Garnishing 
 
 AND 
 
 Jt ^lanual nf Bimtimts. 
 
 EDITED AND RE-WRITTEN 
 
 THE REV. ERNEST GELBART, 
 
 Rector of Little Braxted, Essex. 
 
 itlj Patts bjj tlj^ ^ittar, antr an 
 
 CONTAINING A CATALOGUE OF MATERIALS, &c., &c 
 
 SOLD BY 
 
 COX SONS, BUCKLEY & Co., 29, SOUTHAMPTON STREET, 
 
 LONDON. 
 
 1882.
 
 ROBERTS & LEETE, 57 & 58, TOOLEY. STREET, SOUTHWARK, S.E., 
 AND 6, LIME STREET SQUARE, E.G.
 
 CORRIGENDA. 
 
 Page 16, line 25, add (Fig. 2, PI. III.) 
 
 ,, 17 18, for crochets, read crockets. 
 
 ,, 20 ,, 2, for or, read of. 
 
 34 (bottom), for quartrefoils, read quatrefoils. 
 
 37, line 7, for Pis., read Pss. 
 
 4 (right column), omit procedentem a. 
 7, for mece, filis, read meae, filiis. 
 
 12, for pontes, read frontes. 
 
 13, for antem, read autem. 
 
 31, for (d), read (e) ; for floreated, read floriated. 
 57, add S. Nicomede. A club set with spikes. 
 57 S. Swithun. A shower of rain. 
 65, (note), for sarum colouris, read Sarum colours. 
 68, line 12, for sketch, read stretch. 
 
 There are many minor misprints and errors of punctuation, for which indulgence is asked until 
 a new edition is called for. 
 
 E.G.
 
 PREFACE TO THE FIRST EDITION. 
 
 * 
 
 THE following pages are intended to serve as a plain practical compendium of 
 the Art of Garnishing Churches at Christmas and other Festivals. The 
 principles of the art are briefly discussed, and the rules for applying them are 
 given so fully that they will, it is hoped, suffice for the guidance of the most 
 inexperienced amateurs. 
 
 The subject has been considered solely in its sesthetical aspects. A great 
 diversity of opinion prevails as to the proper limits of Ecclesiastical Decoration ; 
 but the Author has entirely abstained from entering into that controversy. He 
 has contented himself with giving designs and methods, varying widely in 
 character, and suitable, some to the most elaborately, and some to the most 
 simply decorated edifices. 
 
 Every available treatise relating to the present and allied subjects has 
 been considered. The information derived from these sources has been com- 
 bined with the results of the Author's own practical experience which is 
 considerable and with the valuable suggestions of several clergymen and 
 others, who have successfully practised the beautiful art, which applies some of 
 Nature's gifts to illustrate the successive seasons of the Christian year. 
 
 A grateful acknowledgment is due to several friends for the useful 
 information contributed by them, and particularly to Mr. S. J. Nicholl and 
 Mr. B. J. Talbert, for several designs which illustrate these pages. 
 
 EDWARD YOUNG COX. 
 
 October, 1868. 
 
 2015225
 
 CONTENTS 
 
 PREFACE. 
 
 CHAPTER I Introductory. 
 
 HISTORICAL NOTES, ETC. 
 
 CHAPTER II. 
 GENERAL PRINCIPLES; WHAT TO AVOID, THE LIMITS OF DECORATION, ETC. . . 15 
 
 CHAPTERS III., IV., V., VI., VII. 
 THE MAKING OF WREATHS, DEVICES, BANNERS, DIAPERS, TEMPORARY SCREENS, ETC. 21-35 
 
 CHAPTER VIII. 
 TEXTS ; THEIR CHOICE AND EXECUTION 36 
 
 CHAPTER IX. 
 
 EMBLEMS AND SYMBOLS (i) THE NAME OF CHRIST. (2) OTHER SACRED EMBLEMS 
 
 AND FIGURES. (3) EMBLEMS OF THE ANGELS. (4) THE APOSTLES. (5) THE SAINTS 48 
 AND THEIR FLOWERS. (6) SHIELDS. (7) CROWNS. (8) FLEUR DE LYS. (g) COLOURS 
 
 CHAPTER X. 
 STRUCTURAL DECORATION ARCHES, WALLS, WINDOWS, PULPITS, FONTS AND SCREENS 67 
 
 CHAPTER XI. 
 A CONCISE LIST OF MATERIALS 70 
 
 APPENDIX. 
 
 Containing Price List and Descriptive Catalogue of Materials used in Church Decoration.
 
 PREFACE TO THE PRESENT BOOK. 
 
 KINDLY READER, 
 
 One of the first difficulties in writing this book, though (as is 
 customary) the last encountered, was the character which I should assume to 
 you in the Preface ; whether Editor, Author or Corrector. 
 
 The publishers put into my hands some months ago the last edition ot 
 the " Art of Garnishing," and requested me to " re-write '' it, suggesting that 
 my pencil as well as my pen should be used within the like wide range. 
 
 In sending these sheets and plates to the printer with a view to their 
 meeting your eyes, my reader, I send as the result of my labours, the " re-writing" 
 and the " re-drawing " of nearly every page. Still how far my work is original 
 (the writing at least) I scarcely know, for paste and scissors have been freely 
 employed. 
 
 Differences of style may here and there betray the patches on the garment, 
 but as I have neither desire to take the praise of others nor to bear the blame, it 
 may be well to state as far as possible what is new and what old. 
 
 The historical notes are from the former book ; the list of texts in great 
 measure, the directions for making wreaths, devices in straw, everlastings, 
 applique work and so forth, are almost entirely old material. 
 
 The " general principles " are altogether new, but it is to be hoped also 
 true ; the rest of the book is more or less (rather more) original. The Drawings 
 are nearly all fresh and with very few exceptions autograph ; here and there I 
 have pasted on to a sheet a device or monogram from the old book, but in every 
 such case whether the plate is wholly or partly old I have withheld my signature, 
 in all other cases my monogram is to be found on some part of the plate. 
 
 Anxious (as always) to avoid the charge of plagiarism I wish to draw 
 special attention to plates II. and III., of which I am justly proud ; and to state 
 that they are entirely original and that they are not copied from the decorations 
 at Grubbington-in-the-Clay (for I have never been there) ; but. though original, 
 they are confessedly " very like." 
 
 I must acknowledge my indebtedness 
 
 First to Messrs. Cox, Buckley & Co., the publishers of this book, for 
 putting into my hands the materials on which this work is based, and for 
 leaving " my hands free."
 
 Vlll. 
 
 Secondly to Mr. Jas. Parker for the use of the figures of the nine orders 
 of Angels on plate XIII., which are extracted from his " Calendar of the Prayer 
 Book Illustrated." 
 
 And last but not least to my friend Mr. Brooks, who gave me the drawing 
 of his beautiful Church at Northfleet on which to hang some garnishing, as a 
 frontispiece to this work. 
 
 Further than this I should perhaps state that many of the Emblems in 
 Chapter IX. are borrowed from Husenbeth's " Emblems of the Saints;" in fact 
 the list (5) is taken bodily from that work, which indeed is a standard authority. 
 
 The same may be said of Boutell's Heraldry, which I consulted when 
 drawing plate of the Cross. Many other books have been searched, my own 
 sketch books among the number, and the result you have in your hands. 
 
 It is far from perfect, but I have tried to do my best, and if you, my 
 reader, will do the same you will improve upon it, and make the Sanctuary of 
 God each holy tide that comes 
 
 " MORE GLORIOUS." 
 
 ERNEST GELDART. 
 
 LITTLE BRAXTED RECTORY, 
 WITHAM, 
 
 Trinity-tide, 1882.
 
 DESCRIPTION OF THE PLATES. 
 
 i. 
 
 View of an Altar decorated for Christmas. 
 
 II. 
 
 Desecrated Church Furniture Font, Pulpit, Lectern, and Altar R;iils. 
 
 III. 
 
 What to avoid in decorating an Altar : 
 
 Fig i. The multiplication of the Cross, unconstructional A reading, etc. 
 Fig. 2. The cumbering of the Holy Table. 
 
 IV. 
 
 A temporary Rood Screen of Lath, covered with Evergreens, etc. 
 
 V. 
 
 A side Screen to Chancel, various Wreaths, Texts, Banners, etc. 
 
 VI. 
 
 The treatment of blank Arches, Columns, and Window Sills. 
 
 VII. 
 Wall Diapers in Evergreens and Everlastings, etc. 
 
 VIII. 
 
 A Font decorated, i, 2, 3, 4 Various methods of filling in plain Panels, 
 
 whether of stone or wood. 5 and 6 Screen suitable either for dividing a 
 
 Baptistery, or for filling in a blank Wall at the West End of a Church. 
 
 IX. 
 
 A Pulpit and two Fonts decorated. 
 Figs, i 9. Various Devices for hanging upon tlie Walls. 
 
 Fig. 10. A Chancel Scicdi (adapted from an ancient Stone Screen). 
 
 B
 
 X. 
 
 X. 
 
 The Emblems of the Passion of our Redeemer. 
 
 Figs, i 4. The Evangelistic Symbols. 
 Fig. 5. The Emblem of the Blessed Sacrament. 
 
 XL 
 Various Sacred Emblems (described in the text). 
 
 XII. 
 
 The Heraldry of the Cross. 
 
 XIII. 
 
 Emblems of the Apostles and Angels, the Sacred Dove, and the Passion Flower. 
 
 XIV. 
 Crowns, Roses, Fleur-de-Lys, and other Emblems. 
 
 XV. 
 
 Six different Suggestions for Temporary Dossals, with Evergreens and Hangings. 
 
 XVI., XVII., AND XVIII. 
 Alphabets and Scroll Work. 
 
 XIX. 
 
 Texts and Illuminated Borders. 
 
 XX. 
 
 Various forms of Texts, Scrolls, and Legends for placing over Arches 
 
 or on Walls. 
 
 XXL AND XXII. 
 Banners and Bannerettes. 
 
 XXIII. 
 Various Devices in Everlasting Flowers. 
 
 XXIV. 
 Frame Work for Font Covers, Metal Troughs, Crosses, Flower Holders, etc., etc. 
 
 XXV. 
 
 Sketches of Frames for Screens, Patterns of "Foundations" for Devices, 
 whether in Zinc or Card-board.
 
 THE ART 
 
 OF 
 
 Clnttcjjes at Cljratmas 
 
 AND OTHER FESTIVALS. 
 
 CHAPTER I. 
 INTRODUCTORY. 
 
 THE "Garnishing of Churches," of which this book treats, may, now-a- 
 clays, be fairly supposed to have passed the region of apology. If argument 
 ever was necessary to overcome prejudice or rebut objections it is so no longer. 
 The principle of Beauty in the House of the Lord is accepted on all hands, 
 and it is, perhaps, rather needful to temper zeal with discretion than to soften 
 opposition. 
 
 To us of to-day, Christmas, Easter, and Whitsuntide speak so naturally 
 from the sanctuary where " the fir tree, the pine tree, and the box together 
 beautify the place,"" that it requires an effort of memory to recall the days when, 
 save a few ill-set sprigs of holly at Christmas, none of these things were known. 
 
 It is then a question, rather, " Hou> shall we decorate ? " and not " Shall 
 we do so ?'' 
 
 If indeed it is not unpleasing to God that the beautiful things of His 
 Earth should be brought into His House, How shall they be so gathered 
 together that " the place of His feet may be glorious ? " 
 
 * Isaiah lx., 13.
 
 12 
 
 All Church Decoration (architectural or otherwise) has a double purpose 
 to serve the glory of God and the edification of man. The first is secured if 
 there be the intention of " an honest and good heart ; " the latter, unfortunately, 
 cannot be, unless what is done accords with the rules of good taste. 
 
 It is probably not too much to say that, in the sight of our Maker, it 
 matters not what materials are used or how they are disposed ; but since men 
 are greatly influenced, for good or ill, by what they see, we must so strive to 
 work that every touch of the chisel, every spot of colour, every line of ornament, 
 " cry out of the wall : " that there be sermons in stones, in glass, in wood, in 
 flowers, and fruit and leaves. 
 
 Such being the case, it is well nigh as important in temporary 
 " Decorations," as in permanent ornament, that this end be kept in view ; that 
 nothing may militate against the harmony of form and colour that should 'be 
 found in every house, and above all in the House of Worship. 
 
 True, mistaken perpetrations in stone and wood are more serious because 
 more enduring ; but bad taste, in however short-lived a manifestation, is, for 
 the time being, equally painful, and if it be not too strong a word demoralizing. 
 
 We will suppose that our readers wish to decorate a Church for one of 
 the Festivals ; the purpose of this book is to give hints that may help them in 
 their good endeavours. But first, a few extracts in the shape of historical notes 
 may not be out of place. 
 
 Spenser, in his " Shepherd's Complaint," which appeared in 1579, says : 
 
 " Youths folke now flocken in every where 
 To gather May buskets and smeling breere, 
 And home they hasten the posts to dight ; 
 And all the Kirke pillars ere daylight 
 With Hawthorne buds and sweet Eglantine 
 And girlonds of Roses." 
 
 In a few words he manages to give a very complete idea of the mode in 
 which Churches were garnished with various flowers in his day. The " posts " 
 and pillars of the sacred building were to be decked with the fragrant blossoms 
 of the White Thorn, with branches of Sweet Briar and garlands of Roses. 
 
 Christmas. Stowe, in his " Survey of London," which was first pub- 
 lished about twenty years later (1598), says : 
 
 " Against the feast of Christmas every man's house, as also their parish Churches, were 
 dressed with holme, ivy, bayes, and whatsoever the season of the year afforded to be green 
 The conduits and standards in the streets were garnished in the same manner." 
 
 Here, again, the modern decorator may gain one or two useful hints. 
 The quotation from old Stowe may serve to remind us that there are other 
 available materials at Christmas besides Holly that the Ilex or evergreen Oak, 
 the bay, laurel, rosemary, yew, and ivy may, even in mid-winter, be used to 
 give a festive appearance to GOD'S house.
 
 13 
 
 Perhaps one of the most striking evidences of the antiquity of the 
 custom is the name of the evergreen shrub Holly evidently a corruption of 
 " Holy." In all probability the appellation is derived from the use of holly 
 leaves and berries to adorn Churches. The practice of decking sacred edifices 
 with green boughs and flowers existed long before the Reformation ; but it is 
 clear that the custom was not interrupted by that event. The passages above- 
 cited are taken from authors who wrote many years after the separation of the 
 English Church from that of Rome, and after the revision of our Ritual and the 
 adoption of our present Prayer-book. Several learned writers have collected 
 interesting extracts from churchwardens' accounts in different parts of the 
 kingdom, showing that during the sixteenth century flowers were frequently 
 provided at the expense of the parishioners in adorning Churches. 
 
 Among the ancient annual disbursements of S. Mary-at-Hill, in. the City 
 of London, is the following entry : " Holme and ivy at Christmas Eve, iiijd." 
 In the churchwardens' account of S. Lawrence Parish, Reading, 1505, " It. payed 
 to Makrell for the holy bush agayne Christmas, ijd." In similar accounts for 
 the Parish of S. Margaret, Westminster, 1647, "Item paid for rosemarie and 
 bayes that was stuck about the Church at Christmas, is. 6d." 
 
 Coles, in his " Art of Simpling," 1656, says : " In some places setting 
 up of holly, ivy, rosemary, bayes, yew, &c., in Churches at Christmas is still in 
 use.'' 
 
 This passage, considering the date when it was written, is very remark- 
 able. It shows that in the time of the Commonwealth, when the Puritan party 
 was in the zenith of its power, old -customs were not altogether abrogated. 
 
 In Herbert's " Country Parson " (1657, p. 56), the author tells us, " Our 
 parson takes order that the Church be swept and kept clean without dust or 
 cobwebs, and at great festivals, slrawed and stuck with boughs." 
 
 A writer in the Gentleman's Magazine for May, 1811, speaking of the 
 manner in which the inhabitants of the North Riding in Yorkshire celebrate 
 Christmas, says : " The windows and pews of the Churches (and also the 
 windows of houses) are adorned with branches of holly, which remain till Good 
 Friday." If this were really the " use of York," it is noteworthy, as common 
 custom fixes Candlemas Eve as the time for removal of all Christmas 
 decorations.* 
 
 Palm Sunday. Newton, in " Herbal for the Bible," says, speaking of 
 the palm: "The common people in some countries used to deck their 
 Churches with the boughs and branches thereof, on the Sunday next before 
 Easter." In the churchwardens' account for S. Mary Outwich, London, 
 151011, is the entry : " First, paid for palme,f box, floures, and cakes, iiijd." 
 
 * Or Septuagesima Sunday, if that happen earlier than Feb. 2. 
 
 t Probably not real palm, but the Salix, or Sallow, which generally flowers towards the 
 end of Lent.
 
 H 
 
 In the accounts for All Hallows, Staining, " Item for box and palme on Palme 
 Sundays ; item for gennepore for the Churche, ijd." 
 
 Easter. In the churchwardens' accounts for S. Mary-at-Hill is an 
 entry : " Three great garlands for the crosses, of roses and lavender ; three 
 dozen other garlands for the quire, 35." In the churchwardens' accounts for 
 S. Mary Outwich, London, 1525, " Paid for brome ageynst Easter, jd." 
 
 Whitsunday. Collinson, in his " History of Somersetshire," speaking 
 of the Parish of Yatton, says : "John Lane of this parish, gent., left half an 
 acre of ground called the ' Groves ' to the poor for ever, reserving a quantity of 
 grass for strewing the Church on Whitsunday." Among the ancient annual 
 Church disbursements of S. Mary-at-Hill, London, is the following: " Gar- 
 lands, Whitsunday, iijd." 
 
 Harvest Festivals. It is to be feared that the custom of decorating a 
 Church for a Harvest Festival will have to stand on its own merits, without 
 such witness or support as antiquity supplies in regard of the Holy Days of 
 the Calendar.
 
 CHAPTER II. 
 GENERAL PRINCIPLES. 
 
 A. The first and most obvious principle is this a Church when 
 decorated should be at least as fit for use as when unadorned. 
 
 But, obvious as this would seem to be, a large proportion of the 
 decorations commonly in vogue cumber the ground, embarrass the clergy in 
 their ministrations, and make each recurrent festival a source of anxious fore- 
 boding. The most hopeful prospect often extends no further than a bare 
 chance of being able to see the services safely through, without disturbance of 
 the " decorations " falsely so-called; for nothing that interferes with the use 
 of a " garnished " place or object can rightly be said to decorate it if derivations 
 count for anything. 
 
 It will be as well, therefore, in laying down some broad rules, to illustrate 
 them by a few fearful examples that may show " what to avoid," and we will 
 begin with the Font. 
 
 Since the present custom of the Church does not limit Baptism to 
 Easter (or Whitsun) Eve, it stands to reason that a christening may occur on 
 any day ; and, as the Prayer Book recommends " Holy days " in preference to 
 others, a direction coincident with the natural inclination of most folk, a 
 " Decorated" Font will in all likelihood have to be used. 
 
 But when we approach the Font, we find perhaps that the flat oak cover 
 has been replaced by a tin trough filled with earth, and banked high with moss 
 and flowers ; a prickly hedge surrounds it, which, on the removal of the super- 
 structure, unwinds itself and falls to the floor, a tangled heap of brown paper, 
 string and leaves. (See Fig. i, PI. II.) 
 
 Or, again, we may find a plantation of flower pots, which entirely 
 prevents the clergyman from approaching within a foot or two of the basin. 
 
 Or else the Font (in disregard of the rubric) is found to be already full 
 of water, stale and discoloured with decaying leaves, the result of a " floating 
 cross " of lilies. 
 
 Surely few words are needed to show the folly of such ' ; decorations " 
 as these. 
 
 We will next come to the Reading Desk and Choir Stalls. Here a 
 favourite device is to nail or glue round the edges of the bookboards a band of 
 sharp leaves, which render it difficult to turn over a leaf of the Prayer Book 
 without pricking our fingers. (Fig. 2, PI. II.)
 
 16 
 
 Another plan is to flank the sides of the stall ends with huge wreaths, 
 and bunches of evergreens and flowers. These are specially perilous to the 
 surplices of clergy and choir when they enter and leave the Chancel. 
 (Fig. 3. PI. II.) 
 
 The Pulpit often suffers in the same way. The preacher pricks his 
 hands, and catches his surplice, if for a moment he forgets "where he is." 
 There is, moreover, an additional element of danger. Unless timely warning 
 is given by churchwarden or sacristan, the preacher may unwarily raise or 
 lower the pulpit desk ; then, as likely as not, a sharp twang of wire is heard 
 (like the breaking of a harp string), and a shower of " all manner of things " 
 falls down into the nave. (Fig. 4, PI. II.) The well-meaning decorator sits 
 below, flushing with vexation, and complains as she leaves the church 
 " Why couldn't Mr. Dash leave the desk alone ? " To which the obvious 
 retort would be " Why could not Miss Blank have done so ? " 
 
 The Communicants' Rail is intended to serve as a support for those 
 who need it, either in kneeling or rising up. What, then, can be more dis- 
 tracting to the Communicants at the most solemn moment than to find no 
 place to rest the hand, save a ridge of holly or a bunch of fruit. What more 
 unseemly than to retire from the altar with patches of cotton wool clinging to 
 the knees, or with garments stained and spoiled by crushed flowers and berries. 
 (Figs. 7 and 8, PI. II.) 
 
 The Altar itself is too often treated in a manner ill beseeming " God's 
 Board." Sheaves of corn, plates of fruit, piles of grapes, hops, oats, and so 
 forth are placed where nothing should ever be put save the bread and wine and 
 the alms of the faithful presented at the offertory. (Fig. i, PI. III.) 
 
 The Lectern and Litany Desk (if there be one) suffer the fate of the 
 Pulpit, and are dangerous and irritating to approach. (Fig. 5, PI. II.) 
 
 It will be sufficiently clear to the reader that the foregoing remarks are 
 based on fairly sound reasoning, and few will be found to deny that they are 
 amply justified. 
 
 Granting, however, that nothing should interfere with the use of the 
 Church, or its furniture, there are divers other " Cautels," and if we may so say 
 "Prohibitions" to be laid down. 
 
 B. Never on any account should a nail (or even a tin tack) be driven 
 into either wood or stone. 
 
 If you cannot make a Decoration stay in its place by the law of 
 gravitation, or by the use of string and wire, take it away and find some other 
 place for it. 
 
 To drive nails into a rough plaster wall for the suspension of wreaths 
 and so on is harmless, but to break the joints of a stone or marble pulpit, to 
 riddle the edges and split the panels of oak stalls is - not decoration but 
 desecration.
 
 Let any one calculate the number of Festivals and the number of nails 
 driven in each time, and it may easily be judged how long it will take before 
 the ill-used object is completely destroyed. A century of such treatment 
 would wreck the most substantial pulpit or font in existence.* 
 
 Another plan less destructive but almost equally disfiguring is to stick 
 brown paper with glue or sealing wax on to the window-sills, font, pulpit, stalls, 
 or Lectern, and upon this foundation to sew floral decorations. It should be 
 unnecessary to remark that neither stone nor wood will endure the washing 
 and scraping necessary for its removal without damage. 
 
 c. No "Decoration of the Decorated" should be allowed. If gilding 
 the refined gold be superfluous, to cover up costly carving or marble inlay with 
 bunches of leaves is ridiculous ; yet a common conception of the decoration of 
 a stall end is to tie (or nail) on the oak "Poppy-head" a shapeless bunch 
 of green. 
 
 A Font, if carved, should be as much as possible "left alone." If a 
 skeleton cover of galvanized wire be put upon it wreathed with flowers, well 
 and good; provided always that it is either easily removeable, or else that it does 
 not hinder a Baptism. But never cover carved crochets with moss, delicate 
 tracery with flock paper, or angels with veils of evergreen. 
 
 If, however, a Font or Pulpit be plain there can be no objection to 
 wreaths and shields being suspended or tied, provided neither nails or glue be 
 used. If it is required to garnish a Square or Octagonal Font with such 
 devices, nothing is easier than to put a plain wire hoop upon the top from 
 which to hang them, or to tie a cord midway for securing them. The broad 
 rule is Decorate plain spaces but leave details to "tell their own tale." 
 (Figs, ii, 12, 13, PI. IX.) 
 
 D. Another rule is this Never, if possible, "break the lines" of 
 the Architecture, especially those that are vertical. Hence it follows that the 
 greatest care must be taken in wreathing columns or "splining" arches. 
 
 Supposing a Church be a Norman or early Transitional building with 
 thick short columns, heavy capitals, and square arches, it will be found that 
 light spiral wreaths on the columns brighten them up, and that a spline 
 covered with evergreens can be suitably bent into the square reveals of the 
 arcade, while if the capital projects sufficiently all round, a thin "crown" of 
 leaves will sit well upon it. (Fig. i, PI. VI.) 
 
 But the effect of treating the slender columns and the delicate arch- 
 moulds of a late-decorated or perpendicular arcade in the same fashion is 
 nothing short of ruinous. 
 
 E. Never invent arcades or arched panels in impossible places, or on 
 
 * One is commonly told that one tin tack makes such a small hole that it is invisible. So 
 does a drawing pin, but the corners of a drawing board are reduced to the consistency of bran 
 in a very few years* 
 
 C
 
 :8 
 
 blank walls where there is nothing to suggest them. (Fig. i, PI. III.,) will 
 probably be sufficient warning on this head. 
 
 On the other hand a plain arch may be "Cusped," or filled with tracery 
 (Figs. 4, 5, 6, PI. VI.), if the style of the architecture be not violated as by 
 the insertion of an Early Cusp in a Perpendicular opening, or of Geometrical 
 tracery in a Norman arch. 
 
 It will perhaps be better to consult some one with technical knowledge 
 before venturing on such attempts. 
 
 The same remark applies to Temporary Screens of light lath covered 
 with foliage. (Pis. IV., V., IX.) 
 
 Nothing can be more seemly than such screens it well designed; no 
 more admirable plan suggested than such experiments if a permanent screen 
 be in view. 
 
 Often it is impossible to foresee the general effect, or to forecast what 
 lines of the building it will "cut," where it will clash with some existing detail 
 or what it will hide, till such a "template" is erected. 
 
 So, on the contrary, nothing will so effectually dispose of the objection 
 frequently made by fractious churchwardens, or obstructive farmers, that 
 "a screen" stops the view, and makes the Church "look small." 
 
 As a general rule no screen ever does anything but make a Church look 
 larger, and in nine cases out of ten, so far from stopping the view, it "carries 
 it on " in a most happy manner, giving fresh beauty to what is already comely. 
 On this head it is not beside the mark to call the reader's attention to the fact 
 that a wild beast in the Zoological Gardens is perfectly visible though the 
 screen of its cage is solid to the extent of nearly 50 per cent. 
 
 So it is scarcely likely that half-a-dozen uprights in a width of 15 or 20 
 feet will render the Chancel of a Church obscure. 
 
 F. Never do more work than is necessary in the Church, and d fortiori 
 in the Chancel. Avoid, so far as possible, making the Sanctuary a workshop 
 or a lumber-room. 
 
 If in the unconsecrated Temple during its building "no sound of axe or 
 hammer" was heard, we may well think it unseemly that the sound of tools, 
 the chatter of busy workers, and sometimes, alas, the wrangling of disputant 
 decorators, should be heard in the Chancel of a Christian Temple. Therefore, 
 all larger work necessitating hammering and entailing litter and rubbish should 
 be done in the school, the vicarage, or the nearest house, and each article as 
 it is finished brought into the Church for fixture. Or else, if there is no 
 convenient place near at hand, let the vestry be used in preference to the nave, 
 the nave or aisles in preference to the Chancel. Let all the workers honestly 
 try to minimize the evil. 
 
 G. If it be not an impertinence, the author would humbly suggest that 
 nothing should ever be done which is likely to arouse prejudice without good
 
 cause. If, for example, it is known that half-a-dozen people will be troubled in 
 mind by some emblem or text likely to be misconstrued, and which has no 
 necessary bearing on the Feast or its services, charity, not to say prudence, 
 would suggest the substitution of some other ornament. 
 
 At the same time it must be admitted that no amount of forethought 
 can ensure immunity from offence. The Churchwarden who saw the sacred 
 monogram ^R. and complained of the excess of Popery, which, unsatisfied 
 with Pius y^% IX, demanded Pius X, is, after all, but typical. 
 
 H. As far as possible avoid sameness and feeble repetition. If the hoops 
 or wire frames used at one festival are again employed, try to vary their position 
 as well as their vegetable or other covering. 
 
 Who does not knowthe weary anticipation which awaits the re-appearance 
 of a well-known interlaced triangle or vesica, or S. Andrew Cross, covered with 
 blue flannel at Christmas, white at Easter, and red at Pentecost ; or of a ding}' 
 " Ter-Sanctus," recurring with unfailing regularity upon the altar or screen ? 
 A little ingenuity, a little extra thought would prevent such distasteful monotony. 
 
 i. Avoid meaningless multiplication of symbols and emblems. 
 
 If a Church is dedicated to S. Peter, do not let the cross keys meet the 
 eye at every turn ; if to S. Andrew, let the X cross be varied by something else. 
 There are few saints but have two or more emblems. 
 
 So with the cross of Christ the most sacred, yet, at the same time, the 
 most vulgar of ornaments. Far too often it is used simply as a dernier ressort 
 when invention fails. " Oh, put a cross," is an easy solution of a difficulty; 
 but it is not reverent nor is it edifying to see the symbol of redemption scattered 
 broadcast. Specially should this be borne in mind on the Altar. If there is 
 one cross upon the ledge no other is needed. Fig. i PI. III., which is little if 
 anything exaggerated, shows the length to which this evil will run. 
 
 K. Never put cut flowers in places where they will wither, unless they 
 are easily accessible, and can be renewed ; else before the " Octave " of Easter 
 or Whitsunday is past they will be a sorry spectacle, and unsavory withal. 
 
 Whenever possible try to contrive that they may stand in water. Narrow 
 zinc troughs, made to fit the window sills ; little "cones" for bunches of choicer 
 flowers are not expensive, and even if they were would be well worth their cost. 
 (See PI. XXIV.) Growing flowers or even small shrubs in pots may fitly be 
 introduced in larger Churches ; either standing on the floor, in niches, or on 
 wall brackets where they exist. 
 
 L. Let there be a due proportion, "The better the day the better the deed." 
 Do not let the great festivals of our blessed Lord be overshadowed by some 
 local feast as a village anniversary or a harvest festival. 
 
 So, too, on each several feast let the same principle be kept in view. As 
 each part of the sacred building has its use let it be garnished suitably and with 
 due regard to the other parts.
 
 20 
 
 Do not let the less sacred be more ornate than the more holy. Let the 
 Porch lead to the Nave, the Nave to the Chancel, and that to the Sanctuary or 
 the Eastern End. So with regard to the architecture, small aisles or transepts 
 should not distract attention from the central line of the building. 
 
 So, too, with regard to the designs used. One should not by its discord 
 or strong colouring throw another into the shade. There should be, in a word, 
 unity of plan and harmony of detail. As Ruskin, in his " Seven Lamps 
 of Architecture," observes " Our building, if it is well composed, is one thing, 
 and is to be coloured as Nature would colour one thing a shell, a flower, or an 
 animal ; not as she colours groups of things." 
 
 M. Lastly, before entering upon details, it is advisable to suggest the 
 desirability of making all the arrangements in good time, and for this purpose 
 a meeting of those interested in the decorations should be called some weeks 
 before Christmas or Easter to arrange a definite scheme on which to proceed ; 
 and, if possible, a leader should be appointed, whose opinion should be final on 
 all matters of detail. 
 
 It is also desirable to give members of the congregation the opportunity 
 of contributing towards the decorations. This can be done either by a notice 
 saying to whom contributions may be sent, or by having a box to receive them 
 placed in the Church. 
 
 As soon as the general plan and details have been decided upon, what- 
 ever devices, banners, texts, or other materials are required should be ordered 
 from the decorator, so as to prevent the possibility of delay occurring. 
 
 " LET ALL THINGS BE DONE DECENTLY AND IN ORDER."
 
 21 
 
 CHAPTER III. 
 
 ON THE MAKING or WREATHS AND OTHER FLORAL ORNAMENTS. 
 
 In all Churches, whether more or less elaborately decorated, wreaths are 
 the staple garniture ; therefore a few hints on the various ways in which they 
 may be arranged, and the mode of constructing them, will no doubt be accept- 
 able. Large boughs, to cut which would injure the trees, are not required ; 
 only small pieces, such as the gardeners when trimming would throw away, 
 are wanted, as these only can be used to produce the effect desired. Almost 
 all evergreens are suitable ; but holly, by custom and by its association, should 
 be extensively used at Christmas and all other winter festivals ; as the lovely 
 white hawthorn should be used on the feast day of SS. Philip and James, or 
 other spring festivals. Ivy, yew, fir, and box will also be found very useful. 
 In many positions the long runners of ivy, thickened out by extra leaves being 
 wired on, will produce a good effect and be quickly made. 
 
 The more usual plan is to fasten the evergreens with twine to a thin 
 rope ; and the most convenient and expeditious plan to adopt is to have the 
 rope of the necessary length, stretched across the room at a convenient height 
 (say rather more than three feet from the floor), and to have a quantity ol 
 evergreen sprigs assorted in heaps of different kinds, also a supply of small 
 bunches of holly berries, and (if it is intended to use them) of everlasting 
 flowers, arranged on a table close at hand. Begin by disposing a few of the 
 sprigs round the rope, and fasten them on with twine ; arrange the next bunch 
 so that the stalks may not be seen, and twist the string round them, tying a 
 knot to prevent its slipping away. This should be continued until the rope is 
 covered ; and care should be taken to use, as far as possible, a variety of tints 
 of green, interspersed with bunches of holly berries and everlastings, as also to 
 keep the thickness of the wreath uniform. The bunches of holly berries, if 
 large, may be divided by splitting them through the stalks. It is desirable to 
 wear gloves to protect the hands when making holly wreaths. 
 
 There is one objection to the use of twine for fastening the evergreens to 
 the rope in the way described above, viz., that unless it is frequently looped or
 
 22 
 
 tied, as well as wound round the twigs of which the wreath is formed, they are 
 apt to get disarranged in moving and fixing, by the twine slipping. This can 
 be avoided by using either fine iron or copper wire in lieu of twine ; the wire 
 will bend with the wreaths, and consequently not allow the evergreens to get 
 misplaced. 
 
 Another plan is to make the wreaths flat instead of round ; the best way 
 of accomplishing this is to use a stout string or whipcord, instead of a rope 
 foundation to have twigs cut with rather longer stalks than usual, and to 
 fasten them with wire in the way described above ; but arranging the various 
 pieces spreading out instead of bound close to the string ; when arranged in 
 this way, care should be taken that the choicest pieces are placed so as to show 
 well on the face of this flat wreath. 
 
 A wreath made in this manner is more pliable, and consequently, for 
 some parts of the work, more easily arranged than when so thick a foundation 
 as rope is used ; but it must not be forgotten that massive pillars require much 
 thicker wreaths than those of lighter proportions ; and care must be taken that 
 all the leaves, &c., are directed upwards. This is a point that should be 
 constantly kept in mind, as frequent mistakes are made in the matter. 
 
 An amateur, who has had great experience in Church decorations, has 
 kindly given a description of the method which he employs for wreath-making. 
 
 This gentleman considers that it is far preferable to use a stout wire as 
 the ground whereon to fasten the wreath, and fine brass wire for binding on the 
 foliage, &c. He uses the wire over his knees, having the uncovered part on 
 the left side and the completed work falling to the right. In this way as much 
 as 100 feet may be made in a length, and the everlastings, or anything else 
 that may be wished to be interwoven with the wreath, can be inserted as the 
 work progresses. In this manner a wreath can be made either very fine, as of a 
 single spray of box, or very thick, according to the purpose for which it is 
 required. 
 
 The following plan of constructing the wreaths will perhaps be found to 
 be more easily worked by ladies than either of the foregoing, and quite as effec- 
 tive : Instead of the wire or cord groundwork, procure some green worsted 
 binding, and stretch it tight across a table, and then sew thereon the twigs, 
 flowers, and berries, arranged in the same way as previously described. This 
 will give a rather broad and flat wreath, which will look very well, particularly 
 when used for decorating large columns. 
 
 Wire ribbon, i.e., a wire foundation, covered with cotton, can be pro- 
 cured, either black or white, and this makes a capital foundation for wreaths, 
 as the leaves can be sewn on in the same way as on to worsted binding. 
 
 For wreaths to fit into the carved mouldings of an arcade, the best 
 groundwork is a thin wooden lath, which, if cut to the exact length required, 
 will, when decorated and put into its position, require no fastening, as the 
 natural spring of the wood will keep it in its place. A thin iron rod treated in
 
 23 
 
 the same manner can be bent to the required shape, and would answer equally 
 well. In fixing wreaths, and in fact all temporary decorations, it is of the 
 greatest importance to use as few nails as possible, and where used they should 
 be put in with the greatest care, as it is most unsightly when the decorations 
 are taken down, to leave the plaster, or brickwork, disfigured. It is to be 
 hoped that enough has been said already on the question of stone and wood- 
 work to render any further remarks here unnecessary. One only exception to 
 the rule which defends wood from nails, may perhaps be fairly made in the 
 matter of beams and rafters, if for instance, in a village Church there are large 
 beams crossing the nave at the wall-plate, it may not be found a bad plan to 
 drive in large nails at regular intervals for the hanging of evergreen wreaths 
 and leave them there. Thus 
 
 BEAM. 
 
 'Wreath 
 
 In many positions a thin wire hook or staple, such as is used by bell- 
 hangers, can be driven into the walls without doing any damage, and these will 
 often be found to be convenient for fixing the wreaths or devices. For minute 
 work, such as fonts, &c., moss wreaths are suitable, as they are very pliant. 
 
 So it is a good plan to leave a few nails, staples, or whatever is used for 
 fixing the decorations, in places where they are always required when the 
 building is decorated ; as, if small, and at a height from the ground, they 
 would not be observed. For wreaths round the capitals of columns, it is found 
 to be a good plan to use a band of hoop iron with a hole punched in each end. 
 This forms the groundwork for the wreath, and is bent to encircle the column. 
 The ends are then fastened by a piece of string or wire. A better plan is to 
 have the hoop iron, above described, fastened in the centre of a band of per- 
 forated zinc about three inches wide. .This will enable a breadth to be given to 
 the wreath which its position requires. Where there is a projected moulding 
 on which this band can rest, no other fastening is required ; but where this is 
 not the case it is better to have a hole punched in the centre of the hoop iron 
 as well as at the ends, so that it can be fastened oil each side by a piece of 
 siring, which should be tied round the column. 
 
 A flexible wreath hanging freely suspended from two points assumes, by 
 its own weight, the curve which mathematicians call the catenary. It is one 
 of the most beautiful curves in nature, as any one will acknowledge who has 
 observed the graceful droop of the chains of a suspension-bridge, or, on a 
 smaller scale, of a cord hanging between two points, and not taut. The 
 catenary is capable also of great variety. The droop may be very small com- 
 pared with the horizontal span, so that the curve is flat and open : or, on the 
 other hand, it may hang down so as to present the form of a narrow pendant
 
 loop. When the wreath is ready, all that remains to be done is to hang it over 
 the points of suspension. No framework is needed, and the form naturally 
 assumed is one which art would not improve. 
 
 Perhaps one of the very simplest and most easily-constructed kinds of 
 decoration is a horizontal series of plain and equal festoons : this may be con- 
 tinued all round the nave, either above the windows of the aisles, or the interior 
 arches or both. 
 
 Another form of festoons, slightly more complicated, is that of a double 
 series intersecting each other as in the annexed diagram 
 
 Another variation of the same idea consists of a series of festoons, one 
 under the other ; the summits of the lower series of curves being coincident 
 with the lowest points of the upper series 
 
 X X X X 
 
 Such a treatment is suitable for large blank brick walls if time and 
 materials sufficient are forthcoming. If wreaths of this sort be used, the 
 courses of the brick work give place for the nails (which need only be small), 
 and if at XX small bunches of white or yellow everlastings be placed, 
 the effect will be very bright and happy.
 
 CHAPTER IV. 
 
 DEVICES IN EVERGREENS. 
 
 For forming devices, either entirely of evergreens, or of evergreens with 
 the addition of a few everlasting flowers, perforated zinc* is perhaps the best 
 ground-work. The plan to be adopted for fixing them is as follows : First 
 procure the materials required, viz., the devices proposed to be decorated, cut 
 out in perforated zinc, a supply of evergreen leaves, and very small sprays of 
 evergreens, some stout needles, and strong thread of a dark colour that used 
 for sewing carpets or ordinary black thread will do. 
 
 Commence sewing on the leaves and sprays at the bottom of the device, 
 taking care that the thread fastens the leaves down across one of the veins, and 
 that the stalks are as far as possible covered by other leaves. For devices that 
 are intended to be fixed at a slight elevation, small leaves should be used, and 
 the work should be done as neatly as possible ; but for those that are to be fixed 
 at a considerable height, larger leaves will be more effective. Devices consisting 
 entirely of evergreens have a somewhat heavy appearance, which is greatly 
 relieved by small bunches either of holly berries, or of the coloured everlasting 
 flowers being introduced in different parts of the design, in the way indicated 
 on some of the illustrations in this book, and described in the next Section. 
 
 Those who have a knowledge of drawing will find it best to make a 
 sketch of the device in the first instance, and then with a little colour, to 
 ascertain in what position it will be best to introduce the flowers. Very effective 
 devices can be formed by having the centre illuminated in colours, and the outer 
 part formed in evergreens. 
 
 Another plan for forming the devices in evergreens is to have a ground- 
 work of stout iron wire, which is, of course, less expensive. The leaves can be 
 either tied on with thread, or better, bound on with the fine wire used by artificial 
 flower makers. The wire groundwork, however, does not give the same breadth 
 to the design, and the leaves cannot be arranged so well, except in the case of 
 
 * Or galvanized iron wire or hoop, made to the required shape.
 
 26 
 
 very large devices, where the leaves could be attached by the stalks to the wire 
 frame in such a way as to spread out. 
 
 Where devices are fixed against the light as in the case of a temporary 
 (and tentative) Dossal, which comes above the ledge of the east window, 
 it will be requsite to stop all light passing through, as, if this is not done, the 
 effect will be considerably spoiled. As good a manner as any of doing this is 
 to fasten some waterproofed paper at the back ; this can be procured at 2d. per 
 yard and is impervious to light. See Figs, i 9, PI. IX., Figs. 2, 3, PI XV.
 
 2 7 
 
 CHAPTER V. 
 
 DEVICES IN EVERLASTING FLOWERS, BERRIES, AND Moss. 
 
 For working with the everlasting flowers most people prefer a ground- 
 work of perforated zinc cut out to the required shape, as the stalks can be put 
 through the holes and fastened behind either with cotton, or by pasting or 
 glueing stout brown paper over the back. Another plan is to have the ground- 
 work shaped out of cardboard or of a thin piece of wood, which should be either 
 covered with paper or painted, and on this the flowers, cut from the stalks, are 
 fastened down either with glue, very thick gum, or shoemakers' paste. 
 
 Melted gelatine will be found more useful than gum arabic for fixing the 
 flowers and berries. The gelatine can be spread over the device, and the flowers 
 laid on ; but for berries it is best to dip them in a saucer containing the gelatine. 
 
 Supposing either of the above plans to be adopted, the worker should 
 procure the device selected, cut out to the required size, and then lay it down on 
 a piece of plain paper, and with a pencil trace the shape. Then remove the 
 zinc, and with water-colours try the effect of the various shades it is proposed 
 to use ; for it should always be borne in mind that it is not requisite to adhere 
 to one colour only with these flower decorations. Thus, a star, instead of being 
 all yellow, may have the principal part yellow, with a green centre, and a line 
 of red around the outside edge. 
 
 A double triangle may have one yellow, edged with red, and the other 
 white, edged with blue. The designs given on Plate XXIII. indicate this 
 arrangement. 
 
 By trying the effect on paper in the way suggested, one is much more 
 likely to get a satisfactory result, and it will also save time in arranging the 
 flowers. 
 
 The gnaphaliums can be procured in the following colours : 
 
 YELLOW, LILAC, SPOTTED RED, 
 
 WHITE, PINK, BLUE, 
 
 GREEN, ORANGE OR LIGHT RED, VIOLET, 
 
 SPOTTED YELLOW, BLACK, PURPLE, 
 CRIMSON,
 
 28 
 
 as well as some others. It should be remembered that they are real flowers 
 dried (and in some cases dyed), not artificial, as some people erroneously 
 imagine. 
 
 The larger varieties of everlasting flowers (heliclirysum) are grown in 
 several colours, and these are used in conjunction with the gnaphaliums with 
 very good effect, but not alone. 
 
 White Cape Everlastings are very effective for decorations. Before 
 use, the seed in the centre should be removed, and they should be warmed by 
 steam or in front of a fire, opened out flat, and turned face downwards, leaving 
 the back uppermost. When used in this way, a comparatively small number 
 are required. They are also used the other way, much closer together. The 
 Cape silver leaves are also very effective. 
 
 There are also many very beautiful grasses, too often disfigured by being 
 dyed bright blue or red, but easily to be obtained au naturel ; these are useful 
 and legitimate substitutes for flowers in the winter season, and may even be 
 placed in vases on the altar without incongruity. 
 
 NATURAL FLOWERS. 
 
 Where real flowers are used, arrangements must of course be made for 
 the stalks to be kept moist, and this can very easily be done by water contained in 
 little zinc tubes, which can be soldered in any position on to an iron frame bent 
 to the required form ; or these zinc tubes (formed as cones, and made with a 
 hook) can be hung on to any part of the decorations required. A drop of thin 
 gum in each of the flowers will prevent them falling to pieces as soon as thev 
 otherwise would. The stalks also can be dipped in hot sealing-wax. For 
 flower vases a useful frame is made in zinc, which enables the decorator to 
 make an effective bouquet with a small supply of flowers ; an illustration of 
 this and of other useful contrivances for similar purposes will be found on Plate 
 XXIV. Primroses for Easter decorations can be kept very well by having the 
 stalks stuck in wet clay. 
 
 In some positions, as for instance round the base of the font, the best 
 plan to adopt is to have troughs of zinc, to hold the water, and to have floating 
 in them boards perforated with holes ; these can be covered with moss, and the 
 stalks of the flowers passed through the holes to the water. 
 
 When flowers in pots are used, a convenient and effective plan is to 
 place them in hanging wall baskets, concealing the pots with moss, or to place 
 them upon brackets as already described in Ch. II.
 
 2 9 
 
 CHAPTER VI. 
 
 ILLUMINATED AND OTHER DEVICES. 
 
 These can be prepared either in oil or water-colours, on cardboard, calico, 
 or prepared cloth. The device should either be procured from the decorator, set 
 out ready for illumination, or a full-sized drawing should be made, and then 
 traced upon the substance to be illuminated. The best way of tracing it is to 
 prick holes all round the outline, and then lay it down on the prepared cloth or 
 other material, and with a little whitening*, tied up in a piece of muslin, dust 
 it over. On removing the drawing it will be found that the whitening, which 
 has passed through the pin holes, will show the outline, which will enable the 
 worker to sketch the device easily with a black-lead pencil or chalk. When 
 this has been done, the colours and gold should be filled in in the same 
 manner as described in Chapter VIII. for illuminating texts. 
 
 Most monograms and devices look well when surrounded by a wreath, 
 composed either of evergreens or of everlasting flowers, or of the two com- 
 bined. See Figs, on PI. g, etc. 
 
 An easy way of preparing effective devices with an illuminated centre 
 and a flower and evergreen border, is to procure the device cut out in perforated 
 /inc, and fix the illumination painted on prepared cloth in the centre, and then 
 surround it with flowers or evergreens. 
 
 A simple and effective way of forming devices is to sketch out with a 
 black-lead pencil, on either prepared calico or cardboard, the outline of the 
 monograms, crosses, or other ornaments selected, and then fill them in with a 
 rich deep red in oil colour. This on the white ground, surrounded with a 
 wreath of evergreens, interspersed with everlasting flowers and berries, will be 
 found to have a very pleasing appearance. The monograms and crosses 
 shown on Plates XL, XII., XIII. are suitable for this purpose. 
 
 A great variety of designs for illuminated monograms, crosses, and 
 devices are given in the illustrations. 
 
 * Or if the ground be white, powdered " blue,'' or brick-dust beaten fine in a mortar will 
 serve equally well.
 
 3 
 
 RICE DEVICES. Letters and devices can be formed by having cut out 
 cardboard patterns, and having steeped some gum tragacanth in water to a 
 jelly, putting a layer of large Carolina rice on the pattern with it, and when 
 dry, adding another layer, and so on as required. They can either be left 
 white, or coated red with sealing wax dissolved in spirits of wine. 
 
 APPLIQUE, 
 
 Of which we have no thoroughly English synonym is used to express 
 the art of laying one material upon another to form a pattern, figure, or any 
 other work that may be desired. 
 
 It will thus be seen that " applique work " opens a large field for the 
 display of taste and ingenuity, especially by the lady decorator, as it embraces 
 work in almost every conceivable material, from coloured paper to the richest 
 silk, velvet, or even cloth of gold. As Mulready, when asked the. secret of his 
 great success in colouring his pictures, said, " Know what you have to do," so 
 we say, the great object of the amateur decorator should be to secure unity 
 i.e., to make out of many things one perfect whole. And the first thing is to 
 have the required device set out in full size ready for working, and to decide 
 upon the materials and colours of the various parts. 
 
 To enable such of our readers as would wish to apply themselves to this 
 applique work to prepare the materials selected for the purpose, we cannot do 
 better than give the following extract from " Church Embroidery," by Mrs. 
 Dolby : 
 
 " To PREPARE VELVET, CLOTH, AND CLOTHS OF GOLD AND SILVER FOR APPLIQUE'. 
 
 " Strain a piece of rather thin Holland of about is. per yard not Union tightly in a 
 frame, and cover it all over with ' Embroidery Paste,' carefully removing even the most minute 
 lump from the surface. Upon this pasted holland, while wet, lay the piece of velvet or other 
 material of which the applique is to be, smoothing it over the holland with a soft handkerchief, 
 to secure its even adhesion everywhere. If there be a necessity for drying quickly, place the 
 frame upright at a distance of four feet from the fire, holland side to the stove. But it is always 
 best, if possible, to prepare the material the day before using, that it may dry naturally, the 
 action of the fire being likely to injure some fabrics as well as colours. The velvet, when 
 perfectly dry, will be found tenaciously fixed to the holland, and may be removed from the 
 frame. 
 
 " Now the entire design, or that portion of it intended to be formed of this material, is 
 to be pounced through its pricked pattern on the holland side of the velvet, and traced correctly 
 with a soft black-lead pencil ; then cut out with sharp strong nail scissors, and it will be ready 
 for applying to the article it is designed to ornament." 
 
 The embroidery paste alluded to is made in the following manner : 
 Take three table-spoonfuls of flour, and as much powdered resin as will lie on a 
 shilling ; mix them smoothly with half a pint of water, pour into an iron 
 saucepan, and stir till it boils. Let it boil five minutes; then turn it into a 
 basin, and when quite cold it is fit for use.
 
 If the device is intended to be worked upon velvet, cloth or other 
 material, the groundwork should be stretched upon a frame, and the ornaments, 
 prepared in the way described, tacked thereon in their proper positions. This, 
 of course, requires great care, so that the ornaments or letters may be all 
 straight and symmetrical : for as one false note spoils the melody of a song, so 
 one ornament or letter not properly in harmony with the others will spoil the 
 effect of decoration. All the ornaments having been tacked on and ascertained 
 to be in their proper places, they should be sewn on and edged with an outline 
 of dark cord ; or if the ornaments should be of a dark colour, with tracing 
 braid, either white, gold colour, or red and gold, as will best contrast with the 
 work. 
 
 If, however, the device is formed of coloured paper, all that it is necessary 
 to do is to cut out the various parts or pieces in the desired tints, and paste 
 them on the groundwork. 
 
 In all cases a dark line should be run round the ornament. 
 
 Much labour is thrown away, however, in forming devices or texts in 
 coloured paper, as they have always a very meagre look ; and the same time 
 devoted to them on painted or prepared cloth would produce a work of a much 
 better sort. 
 
 BANNERS. 
 
 These are often made of paper or calico, and when of small size and 
 simple design, they look sufficiently well. They can be hung at intervals 
 beneath the cornice of the aisle roofs, or in the spandrels of the arcades ; but 
 it should be borne in mind that good rich flags of silk or cloth, are suitable 
 objects to hang at any time on the walls of the sanctuary ; and as they can 
 easily be worked by amateurs, or bought at the ecclesiastical warehouse, it is 
 better to have a few such banners in addition to the smaller bannerettes. 
 
 If possible, actual embroidery of needlework should form their ornament, 
 but if that be found too costly, applique work should at least be used. On 
 Plates XXI. and XXII. some 40 designs are given, and several appear on other 
 plates. 
 
 STRAW DEVICES. 
 
 There are several different ways in which straw can be applied to deco- 
 rations. The easiest, and at the same time the most effective plan, is to use 
 the straw tissue which can be procured in sheets 17 inches -f- 6^ inches or 
 21 inches +8 inches. The letters or devices are then cut out to the required 
 size and mounted on the groundwork with thin glue. A coloured flock-paper 
 or cotton-velvet ground, with inscription or ornament in straw tissue is very
 
 32 
 
 effective. Another plan is to use the straw plaits which can be procured in 
 hanks of long lengths and various widths ; but care should be taken to get a 
 good pliable quality, as most sorts are brittle, and crack or break when bent 
 about much. 
 
 The letters or devices to be formed with these plaits should be first cut 
 out in cardboard, and then the straw sewn on to them. The straw can be 
 applied either flat or in high relief, according to the taste or skill of the 
 decorator. 
 
 A third plan of working in straw is to procure whole straws, sold in 
 bundles, and to split them with a small tool which is made for the purpose, and 
 with these to form the required design.
 
 33 
 
 CHAPTER VII. 
 
 WALL DIAPERS, TEMPORARY SCREENS, ETC. 
 
 A wide and legitimate field is often open to the decorator at the east end 
 of the chancel and other large wall spaces. 
 
 " Wall diapers," formed of evergreens and flowers, may well be placed 
 against the east end of the chancel, either on the north and south sides of the 
 altar (with a temporary reredos over it), or else covering the whole of the east 
 wall to any height that may be convenient. See Plates I., VII., VIII. and XV. 
 
 These Diapers can be made either entirely of stout iron wire, or a com- 
 bination of wooden laths, or strips of perforated zinc and wire. An infinite 
 variety of designs can be arranged in this manner from the simple lattice to the 
 most elaborate set patterns, filled with emblems and devices. 
 
 Those of a simple character look very well if laid on a groundwork of 
 the white buckram calico. For others, more elaborate, unglazed cotton of 
 various colours can be used, either with or without the white, to vary the back- 
 ground, according to the requirements of the design. 
 
 For diapers of an elaborate character the whole of the groundwork 
 could be cut out of sheets of perforated zinc, and on this material they can be 
 more readily worked, and more easily fixed. Effective wall diapers can also be 
 made by having the simple lattice pattern very open, covering it with ever- 
 greens, and illuminating, in oil colours or gold, small ornamental devices on 
 the groundwork. When there is no reredos, an effective dossal can be formed, 
 either in stuff with ornaments in applique, or in calico or prepared cloth, 
 illuminated. See Plate XV. 
 
 A temporary screen, as has already been said, affords a very good 
 opportunity of trying the effect of a more lasting structure. 
 
 A few upright posts (say 2 inches x i inch), a cross beam of the same 
 thickness, a few laths and barrel hoops are all the materials necessary for 
 its construction, and with the expenditure of a little time and trouble, a really 
 architectural effect may easily be obtained. The arches are formed by segments 
 
 E
 
 34 
 
 of the barrel hoops, and the inner cusps* are made by cutting a thin hoop half 
 through, and then bending it backwards thus. 
 
 The whole can be covered with moss and box, or other evergreens, taking 
 care that the uprights are kept square and trim, with no loose sprigs projecting. 
 Crockets, bases, capitals and mid -bands can fairly be represented by small 
 bunches of foliage, flowers or berries. The lower part or "wall " of the screen 
 had better be filled in "solid," with serge, cotton twill, or any other suitable 
 fabric, divided into panels with strips of evergreen. Screens of this kind may 
 be placed both across the chancel arch and on either side of the choir, if 
 openings exist. 
 
 The various plates on which such screens are drawn will doubtless serve 
 as sufficiently suggestive of what may be done in this direction. 
 
 TEMPORARY DOSSALS. 
 
 On Plate XV. six examples of such decorations are given, a brief descrip- 
 tion of which may, perhaps, be required ; as it is impossible for an uncoloured 
 drawing to speak for itself in such matters. 
 
 i. Shows a Dossal of evergreen framework, the background being 
 made of serge cotton twill, or any other fabric, white or coloured. The cross 
 and monogram are cut out in stout cardboard and covered with coloured paper 
 or holly berries, or everlastings, or " straw tissue." The side curtains are of 
 serge, lightly embroidered in crewel or other work. 
 
 ii. Shows a " Reredos " of a more ambitious nature, made in lath or wire 
 work (as before described under the heading of Screens), the panels being 
 painted by hand. This is intended to act as a " template " for a permanent 
 Reredos ; so that from this experiment one may judge whether height and 
 shape suit the Church. 
 
 in. Is also executed in lath work, the whole background filled in with 
 serge or cotton (as above) in different colours, the text on cartridge paper or 
 prepared cloth. 
 
 iv. Is the same, except that the panels of the " Reredos " are filled in 
 with painted devices. 
 
 v. Shows a dossal cloth, either worked by hand or woven, the side 
 wings being of lath work and cotton twill. For the lower " dado " use a dark 
 shade, say of maroon red, and powder it either with devices in everlasting 
 flowers, or with fleur-de-lys, or quartrefoils, or roses, cut out in cardboard 
 
 * Greater " truth " in the curves can be obtained by having the cusps and finer tracery 
 made of stout galvanized wire or hoop iron.
 
 35 
 
 and painted. The window ledge is banked up with evergreens neatly packed 
 and two pots of flowers marking the ends of the Dossal. 
 
 vi. Is of a more permanent character, being (save the text) altogether 
 executed in tapestry or embroidery. 
 
 The writer has thought it needless to multiply examples, for the many 
 designs of wall diapers, shown on the plates, may all be worked in for such pur- 
 poses. Those on Plate VII., for instance, are simply shown under an arcade for 
 the sake of making the designs hang together.
 
 CHAPTER VIII. 
 
 TEXTS. 
 
 The 82nd Canon of 1603, among other directions, requires that there be 
 "chosen sentences written upon the walls of churches in places convenient." 
 
 Appropriate texts and legends are among the most effective of festival 
 decorations; as also they are valuable " silent preachers," in the more permanent 
 form contemplated by the framers of the Canon. 
 
 The best known of these is the Decalogue which, with the Creed and 
 Lord's Prayer, was formerly of almost universal occurrence in Parish Churches, 
 but not in Cathedrals or Collegiate Churches. The reason of this is clear. In 
 days when books were scarcer even than readers, it was most convenient that 
 those things which " every Christian should know for his soul's health " should 
 be ever before his eyes. Until a comparatively recent date these sentences were 
 boldly printed in black and white, and were legible. 
 
 In the earlier days of the tractarian and ecclesiological movement, many 
 people failing to find ancient precedent for this custom, framed the command- 
 ments in a " reredos," and by dint of illumination and "compression" made 
 them as good (or bad) as non-existant. 
 
 In the next stage of architectural progress the commandments were 
 banished, and at the present time but a small percentage of new or restored 
 churches possess them. 
 
 The argument against them is (a) they are not mediasval, and conse- 
 quently if over the altar they are out of accord with a Gothic reredos. (b) They 
 are no longer needed since all men have books. 
 
 But on the other hand while they are ordered by the Canon, it is perhaps 
 hardly wise to omit them, and there is certainly one very appropriate position 
 which they may well occupy, i.e., in that part of the Church where the children 
 sit, be it west or east. There is a special fitness moreover if they are put near 
 the font, so that the prayer, faith and obedience of the baptized may stand to 
 them as a constant reminder of their Christian profession.
 
 37 
 
 Beyond these well-known "texts" there are many others which are 
 equally suitable for temporary or lasting decoration. Any one of the canticles 
 may be written continuously round the walls or on the cornice ; the Benedictus 
 or Magnificat, the Benedicite or Te Deum will never weary the eye or heart of 
 the reader. 
 
 So for a Harvest Festival the Psalm Jubilate may be divided into short 
 verses and placed in the window sills round the church, so too with Pis. 
 cxlvii., cxlviii., cl. 
 
 Or in Lent the Miserere or De profundis may be used in the same way. 
 
 Shorter texts (or even single words) may be placed on scrolls or in 
 panels edged with foliage, and placed over doorways, at the sides of the east 
 window, over the altar or at the entrance to the chancel, or shields " inscribed " 
 may be hung on the walls in the spandrels of an arcade or sometimes on the 
 columns themselves, if they be very solid or square. 
 
 It is a question, not lightly to be settled or taken as universally applic- 
 able, whether these texts should be in Latin or English, and whether (whichever 
 tongue is chosen) they should be written in Roman or Gothic lettering. 
 
 Possibly it may be thought to be unadvisable to employ aught but 
 English in country places, while Latin may be used in town. This point the 
 writer will not attempt to discuss. 
 
 As to the condemnation of the Gothic character on the score of 
 illegibility, it should be remembered that a large number of titles and headings 
 in ordinary books and newspapers* are so written, that there is certainly not a 
 railway station or hoarding but has several such inscriptions in the way of 
 advertisement ; and as there is no question of which is the more beautiful, it 
 seems a pity to throw away the old text, and by so doing render its chances of 
 survival smaller. 
 
 Suppose, however, a mission room in London with nothing ecclesiastical 
 in its form or furniture save the altar, there, without question, good bold roman 
 type will tell the tale most readily. 
 
 There are various modes of forming texts for temporary decorations. 
 
 The plan usually adopted by amateurs as the simplest, is to cut the 
 letters out in coloured paper, and gum or paste them on a groundwork of plain 
 or different coloured paper or cloth. 
 
 In order to form the letters well, it is best to procure an alphabet cut out 
 in cardboard to the required size ; and by laying the letters down on the paper, 
 and running a line round them, the proper shape will be obtained, when they 
 
 * It may interest the reader to know that the following newspaper headings contain the 
 whole alphabet from a to z. Morning Post, Daily News, Queen, Field, Exchange and Mart, 
 John Bull, East Kent Advertizer.
 
 can be cut out with either a knife or a pair of scissors. Letters printed on 
 paper can also be procured ; these will save a good deal of time, and insure 
 their being of the right shape. 
 
 When the letters have been cut out, they should be fixed on the ground- 
 work that has been prepared for them. 
 
 In order that texts may look well, it is absolutely essential that all the 
 letters should be upright and properly spaced out ; and to insure this, the 
 material on which the letters are to be fixed should be arranged on any long 
 bench or table a school desk for instance will serve very well. 
 
 The letters should all be laid out in their proper places before any of 
 them are fastened down. It is a good plan to rule a few pencil lines at the top 
 and bottom of the letters; and in fixing them, to insure their being upright, 
 either to use a "J" or set square, or what will answer as well, a square piece of 
 cardboard laid on the pencil line, so that its edge will give a right angle. The 
 necessity of keeping the letters both upright and equidistant must be strongly 
 urged. It frequently occurs that decorations, which have evidently cost much 
 time and attention, are completely spoiled by want of regularity. 
 
 After the letters have been fixed on the groundwork they should be 
 surrounded by a border. This may be made either of evergreens, with ever- 
 lasting flowers introduced in the manner described on another page, or the text 
 may be first surrounded with a border cut out of coloured papers, and then may 
 have an outer border of evergreens, &c., beyond the coloured one. See Plate XIX. 
 
 Another plan is to procure borders painted on strips of buckram calico ; 
 these can be used for the same purpose, and admit of a great variety of designs 
 being used. 
 
 Where paper texts, as above described, are not considered sufficiently 
 rich in appearance, the following more elaborate plan is suggested : Procure 
 some white glazed buckram calico, and cut it to the required size (if fastened on 
 a board, so much the better), then take pieces of coloured cloth, or what is 
 better, cotton velvet, of the colour preferred, and cut the letters and borders 
 from them in the same manner as directed for paper texts, then paste or glue 
 them to the calico or other groundwork, surrounding the whole with borders 
 prepared in the manner indicated above. The embroidery paste, a receipt for 
 which is given on page 30, is the best material to use for the purpose. 
 
 Very effective texts may be prepared by covering a board with green 
 leaves, and then forming letters upon them in white cotton wool. Great care, 
 however, must be taken, if this plan is adopted, to get the letters quite even, as, 
 owing to the nature of the materials, it is somewhat difficult. The letters 
 should first be cut in cardboard, then the cotton wool put on and cut to shape ; 
 if sprinkled with " crystal frost," the appearance is greatly improved. 
 
 Another way is to prepare the board with evergreens as above described,
 
 39 
 
 and form the text with roses, camellias, or any other flowers which can be 
 procured, so that the principal letters might be red, the remainder white ; in the 
 same manner that red and black are used in illuminating decorations in oil 
 colours. 
 
 A plan frequently adopted is to cover cardboard letters with evergreens, 
 and fasten them to the wall separately ; but the objection to this plan is, that 
 there is a great risk of defacing the plaster by the number of tacks or nails that 
 would have to be used in fixing. The better plan is to use a board that has 
 been covered with white or coloured paper, and then, when the letters have 
 been put on, to surround the whole with a narrow border, consisting of small 
 sprigs of box or other evergreens, of which the leaves are quite small. The 
 advantage obtained by this plan is, that the board can then be suspended in the 
 required position upon two nails, which, besides avoiding the risk of injury to 
 the walls above alluded to, also saves a great deal of time and trouble in fixing. 
 
 The various methods above described for making texts are all applications 
 of the principle of cutting out one material and laying it on another ; but where 
 the aid of painting is attainable, a much larger field is open, and greater variety 
 of treatment, both as regards design and colour. 
 
 For those who have not had much experience in illuminated decorations, 
 it is best to procure pots of colours already prepared for use, which can be 
 thinned with a little turpentine if found to be too thick. 
 
 The best groundwork for these decorations is " prepared cloth," a 
 material which is painted and prepared for decoration in the same way as 
 canvas for oil painting. 
 
 Decorations done on prepared cloth, if carefully rolled round wooden 
 rollers when put away, will last for years. 
 
 When a cheaper material is required, white glazed buckram calico can 
 be used, the process of painting being the same as on the prepared cloth. 
 
 When the material on which the text is to be written has been extended 
 on a board or table, and the text spaced out, so as to obtain the proper 
 distances between each word, the cardboard letter previously described should 
 be laid upon it, and marked out with a black-lead pencil, care being taken to 
 get a clear and distinct outline, and to keep the letters regular. 
 
 This being done, the next process is to fill in all the letters with their 
 proper colours, using a camel hair, or sable brush, and putting only enough 
 paint to cover the groundwork. 
 
 Should any of the letters or ornament be required to be gilt, the leaf 
 gold is the best to be used, and the most durable. It is sold in books, and in 
 order to apply it properly, a gilder's cushion, knife, and brush are required, as 
 well as gold size. The gold size should be laid on the parts to be gilt, and 
 when it is almost dry, it should be breathed upon to ensure its being sufficiently
 
 4 
 
 "sticky," then lay out a leaf of gold on the cushion and cut it with the knife to 
 the required size. This should be taken up with the gilder's brush and applied, 
 care being taken that the parts are well covered with the leaf; then rub them 
 gently over with a piece of cotton wool to remove all superfluous gold. An 
 outline of black or red round the gold greatly improves the appearance of the 
 gilded letters or ornament. "Transfer gold leaf" has been lately introduced, 
 specially for amateurs' use; it is mounted on paper and can be cut with 
 scissors to the required size. The work to be gilt is sized in the usual way, 
 and the sheet laid upon it; the paper will peel off and leave the gold. 
 
 If the texts are not intended to be kept from year to year, and gold leaf 
 is considered either too expensive or too troublesome to be used, bronze 
 powder can be substituted. The work should be prepared with gold size in 
 the way before described, and the powder, which will only adhere to the parts 
 sized, may then be dusted on. 
 
 Where gold leaf is used, a good effect is produced by having a shaped 
 patch at the commencement of the text, on which to place its initial letter; 
 and the introduction of some fine lines of ornament, in the style adopted in 
 the old illuminated missals, will still further enrich it. 
 
 A new material for decoration has been introduced during the last few 
 years, called crystal frost. This is made of crystal glass, which, in its molten 
 state, possesses great ductility. When in this state it is blown into exceedingly 
 thin globules, which immediately burst and produce the frost. 
 
 It can be used in a variety of decorations, and will adhere, without any 
 preparation, to silk, paper, &c. The best way of applying it, however, is to 
 use a little clear liquid gum; but the smallest possible quantity of gum should 
 be used, and the "frost" not applied till it is nearly dry, only just sticky. 
 Another very effective material is the "Gold Metal" Powder, which is applied 
 in the same way as the "frost," saving that the size should be much stronger. 
 
 Letters or devices cut in cardboard or paper, and covered with the 
 crystal frost, if placed on a dark coloured groundwork of either cotton velvet, 
 cloth, or calico, are very brilliant. 
 
 STRAW TISSUE. This material is very effective, and is the most easily 
 worked of any of the methods of using straw. It is sold in sheets, and consists 
 of split straws mounted on a paper backing and rolled flat by machinery. 
 Any texts or devices can easily be cut in this with a knife, and when mounted 
 on flock-paper or other dark background, produce a telling effect with very 
 little trouble. When large devices are required, the sheets can be joined, and 
 when up, the joints will hardly be noticed. Glue or paste is the best material 
 for mounting the straw tissue with, and a heavy weight should be placed on it 
 till it is dry. Letters and devices can be procured cut out in straw tissue 
 ready for mounting. A greatly improved effect is gained by using this straw 
 tissue in the same way as gilding would be used in permanent decorations, as 
 a ground on which to paint outlines in black or other dark colour.
 
 Imitation coral letters can be made in the way described under the 
 head of rice devices, on page 30. 
 
 Letters formed of everlasting flowers can be made so as to produce a 
 good effect, as the colours available give the decorator the opportunity of 
 arranging them in a variety of ways. 
 
 One of the simplest, and at the same time most telling Texts is made 
 by simply painting in water colour (upon continuous cartridge paper) the 
 whole lettering in black, dividing the words with finely traced ornament in 
 red, and treating the capitals, of which there should be as few as possible, in 
 the same manner. See Pis. XVI., XVII., and XIX. 
 
 The reason for using few capitals is this : each letter that rises above 
 the others breaks the continuity of the " legend," and without due cause 
 obtrudes itself upon the eye. In Latin inscriptions not even the name of 
 God was written with a capital. In English we could hardly be content to 
 use a small g. 
 
 If the initial and other capital letters are painted in red or blue, the 
 body of the inscription should still be in one colour. Nothing is more 
 destructive of "repose" than to see a text which tries to exhaust the paint box 
 by its variety of hues ; unless, indeed, the symbolism of colours is held 
 as de fide. 
 
 Figs, i and 2, PI. XVII., show the type of letter to be used for " cut 
 out" texts in cardboard or other material. Fig. 3 shows the way in which to 
 enlarge the letters to twice the size. By the same method, of course, they can 
 be made 3, 4, or 6 or 8 times larger if it is needed. Four alphabets of small 
 letters and three of capitals are given on Pis. XVI., XVII., and XVIII., for 
 "hand painting." 
 
 These directions do not pretend to exhaust the whole subject of "Textual 
 Decoration," but are simply intended to serve as hints; the reader's ingenuity 
 will enlarge upon them, and it is to be hoped in so doing improve. Many 
 amateurs are to be found to whom they are wholly superfluous. 
 
 There is one caution to be given, however, in the matter of curved texts 
 or legends, such as are placed over arches, frequently with the result of setting 
 on edge the teeth of those who see them. It is of absolute necessity that a text 
 round an arch should follow its lines. When making (or ordering) such a text, 
 it is simply useless to expect that it will " fit," unless the 
 radius of the curve is discovered. Some people imagine that 
 to measure the length of the curve from A to A gives a sufficient 
 measurement : a moment's thought will dispel this illusion. 
 It is necessary to discover the " centres," of an arch, i.e., the 
 j\ ! 1 points from which the curves are struck. 
 
 Fig. 1 104, PL XX., will perhaps render this more clear. Supposing that a 
 text is required to fit close on to the outside moulding, or "label," or else to 
 
 F
 
 4 2 
 
 come up to the edge of the splay, if there be no label moulding, or wherever it 
 is required to come, let that be the curved line from T to u (on either side). It 
 is required to find the points *A and *B (i.e., the radius from *A w). If the 
 arch is not too wide, stretch a lath or thin board across from T to T (being sure 
 that the arch does begin to curve there f), then, by a few trials and shifting the 
 bradawl backwards and forwards you will discover *A and *B. It is then 
 necessary to measure the distance between these two points, or between s and 
 either of them. 
 
 Then put down the measures, *A to *B, or *A to T, and T to T ; and, if 
 the arch is truly built, no more is needed. For the sake of corroborative 
 evidence, however, it will be as well to measure from s to u, and from u to T. 
 
 These being true, the text will fit ; otherwise, it is hopeless. 
 
 For other arches, " segmental " or four centred, a carpenter had better 
 
 r\ 
 
 be called in to strike the centres, as they are not so easily discovered by the 
 amateur. 
 
 Another plan, which indeed is the only one practicable with large arches, 
 is to fix nails at T T and u. Having done this, stretch a string round the 
 points of the triangle thus formed ; then measure T to T, T to u (on both sides), 
 and from u drop a line down to the centre of the string T T and measure 
 that ; then measure from w to x on the centre of the curve, and from these 
 measures the arch can be drawn out on a floor with sufficient accuracy. 
 
 A List of Texts is here given, which may be of use in suggesting " Words 
 
 in Season." 
 
 FOR ADVENT. 
 
 He cometh to judge the earth." 
 
 Prepare ye the way of the Lord." 
 
 Behold, thy King cometh unto thee." 
 
 Be ye also ready. The Son of man cometh." 
 
 The Son of man shall come in His glory." 
 
 come, O come, Emmanuel." 
 
 Leva Jerusalem, oculos tuos." 
 
 Veni Domine visitare nos in pace." 
 
 Tu es qui venturus es." 
 
 The night is far spent, the day is at hand." 
 
 The Lord is at hand." 
 
 " The day of the Lord so cometh as a thief 
 
 in the night." 
 
 " The day of Christ is at hand." 
 " Behold, He cometh with clouds ; and every 
 
 eye shall see Him." 
 " Surely I come quickly ; even so, come, 
 
 Lord Jesus." 
 " He shall come again in His glorious 
 
 majesty to judge both the quick and the 
 
 dead." 
 " Behold a virgin shall bear a son." 
 
 f Sometimes the spring of an arch is somewhat above the line of the capitals.
 
 43 
 
 FOR CHRISTMASTIDE. 
 
 ' There shall come a Star out of Jacob, and 
 
 a Sceptre shall rise out of Israel." 
 ' The right hand of the Lord bringeth 
 
 mighty things to pass." 
 1 The people that walked in darkness have 
 
 seen a great light." 
 ' Unto us a Child is born, unto us a Son is 
 
 given." 
 
 ' His name shall be called Wonderful, 
 Counsellor, the Mighty God, the Ever- 
 lasting Father, the Prince of Peace." 
 ' There shall come forth a Rod out of the 
 stem of Jesse, and a Branch shall grow 
 out of his roots." 
 1 The Lord, Our Righteousness." 
 ' The Desire of all nations shall come." 
 ; Behold, thy King cometh." 
 The Sun of Righteousness shall arise with 
 
 healing in His wings." 
 Thou shalt call His name JESUS." 
 Emmanuel ! God with us." 
 Hosanna to the Son of David." 
 Hosanna in the highest ! " 
 The day-spring from on high hath visited 
 
 us." 
 Behold, I bring you glad tidings of great 
 
 joy." 
 Unto you is born this day a Saviour, which 
 
 is Christ the Lord." 
 
 Glory to God in the highest, on earth peace, 
 good will toward men." 
 
 ' Gloria in excelsis Deo et in terra pax 
 
 hominibus bonae voluntatis." 
 ' Videbitis regem regum procedentem a 
 
 procedentem a Patre tanquam sponsum 
 
 de thalamo suo." 
 ' Venite adoremus." 
 
 ' Hodie nobis de coelo pax vera descendit." 
 ' Verbum caro factum est." 
 ' The Consolation of Israel." 
 ' A Light to lighten the Gentiles." 
 ' The Word was made flesh and dwelt 
 
 among us." 
 
 ' God sent forth His Son." 
 1 God manifest in the Flesh." 
 ' The Author of Salvation.'' 
 ' The Finisher of Faith." 
 ' We love Him because He first loved us." 
 ' Now is come Salvation and Strength." 
 ' King of kings and Lord of lords." 
 ' The root and offspring of David, and the 
 
 bright and Morning Star. 
 ; God of God, Light of Light, Very God of 
 
 Very God." 
 
 ; God and Man : one Christ." 
 Thou art the everlasting Son of the Father." 
 Thou art the King of Glory, O Christ." 
 
 (The Circumcision.) 
 His name was called Jesus." 
 Circumcision is that of the heart." 
 Oleum effusum nomen tuum." 
 
 FOR EPIPHANY. 
 
 " The people that walked in darkness have 
 
 seen a great light." 
 " He shall bring forth judgment to the 
 
 Gentiles." 
 
 " The Lord shall be thine everlasting life." 
 " The Gentiles shall see Thy righteousness." 
 " The Gentiles shall come unto Thee from the 
 
 ends of the earth." 
 " Venit lumen tuum Jerusalem." 
 
 " Omnes venient aurum et thus deferentes. 
 
 Alleluia." 
 " We have seen His star in the East, and are 
 
 come to worship Him." 
 " When they saw the star they rejoiced." 
 " They presented unto Him gifts ; gold, 
 
 frankincense, and myrrh." 
 " A light to lighten the Gentiles." 
 Rejoice, ye Gentiles, with His people."
 
 44 
 
 FOR LENT. 
 
 " The sacrifices of God are a broken spirit." 
 
 " God be merciful unto us." 
 
 " Have mercy upon us, O Lord." 
 
 " Fili dei miserere mei." 
 
 " Parce nobis Domine." 
 
 " De profundis clamavi." 
 
 " Let the wicked forsake his way." 
 " His mercy is on them that fear Him." 
 " Have mynde, have mercy." 
 " By thy fasting and temptation Good Lord 
 deliver us."* 
 
 TEXTS FOR GOOD FRIDAY. 
 
 He was despised and rejected of men." 
 
 With His stripes we are healed." 
 
 He was wounded for our transgressions." 
 
 It is finished." 
 
 He humbled Himself to the death of the 
 
 Cross." 
 Thou hast brought me into the dust of 
 
 death." 
 
 Deus meus respice in me." 
 His own self bare our sins in His own body 
 
 on the tree." 
 
 By Thy Cross and Passion, good Lord, 
 
 deliver us." 
 By Thy precious death and burial, good 
 
 Lord, deliver us." 
 Behold, and see if there is any sorrow like 
 
 unto my sorrow." 
 
 Is it nothing to you all ye that pass by ? " 
 O, my people, what have I done unto you.'' 
 They crucified Him." 
 They shall look on Him whom they have 
 
 pierced. 
 
 FOR EASTER. 
 
 I know that my Redeemer liveth." 
 The Lord is King for ever and ever." 
 He is risen." 
 
 The Lord is risen indeed." 
 I am the Resurrection and the Life." 
 This Jesus hath God raised up." 
 He whom God raised again saw no corrup- 
 tion." 
 
 Christ was raised again for our justification." 
 If we be dead with Christ, we believe that 
 
 we shall also live with Him." 
 Christ our Passover is sacrificed for us, 
 
 therefore let us keep the feast." 
 Now is Christ risen from the dead, the first- 
 fruits of them that slept " 
 As in Adam all die, even so in Christ shall 
 all be made alive." 
 
 death, where is thy sting ? O grave, where 
 is thy victory." 
 
 Death is swallowed up in victory." 
 Our life is hid with Christ in God." 
 
 1 am He that liveth, and was dead ; and, 
 
 behold, I am alive for evermore." 
 Lord of lords, King of kings." 
 Alleluia ! Alleluia ! Alleluia ! 
 Alleluia! for the Lord God omnipotent 
 
 reigneth." 
 He is the very Paschal Lamb which was 
 
 offered for us." 
 Haec dies quam fecit Dominus : Exultemus 
 
 et laetemur in ea. Alleluia." 
 Resurrexit." 
 Pascha nostrum." 
 
 So for Lent and Passiontide any of the penitential verses of the Litany may be fitly used, either in Latin 
 or English.
 
 45 
 
 FOR ASCENSIONTIDE. 
 
 Thou hast crowned him with glory and 
 
 honour." 
 
 The Lord sitteth King for ever." 
 Thou, Lord, art Most High for evermore. 
 He was received up into heaven, and sat 
 
 on the right hand of God." 
 Videntibus illis elevatus est." 
 
 " The Son of man, which is in heaven." 
 
 " He was taken up, and a cloud received 
 
 Him out of their sight." 
 " He ever liveth to make intercession for 
 
 them." 
 
 " Thou sittest at the right hand of God." 
 " He ascended into heaven." 
 
 TEXTS FOR WHITSUNTIDE. 
 
 The Comforter, which is the Holy Ghost." 
 They were all filled with the Holy Ghost." 
 The Holy Ghost fell on all them that heard 
 
 the word." 
 The Spirit beareth witness, because the 
 
 Spirit is Truth." 
 
 Spiritus Domini replevit orbem terrarum." 
 Spiritus qui a Patre procedit ille me clari- 
 
 ficat." 
 
 " Thou only, O Christ, with the Holy Ghost, 
 
 art most high in the glory of God the 
 
 Father." 
 " The Holy Ghost came down at this time 
 
 from heaven." 
 " The Holy Ghost, the Lord, and giver of 
 
 Life." 
 " Veni Creator Spiritus." 
 
 FOR TRINITY SUNDAY. 
 
 Holy, holy, holy, Lord God Almighty, 
 
 which was ; and is, and is to come." 
 Not three Gods, but one God." 
 Qualis Pater, talis Filius talis Spiritus 
 
 Sanctus : Haec est Fides Catholica." 
 Unitas in Trinitate, et Trinitas in Unitate 
 
 veneranda." 
 The Father is God, the Son is God, and 
 
 the Holy Ghost is God." 
 
 " Glory be to the Father, and to the Son, and 
 
 to the Holy Ghost." 
 " O holy, blessed, and glorious Trinity, three 
 
 persons and one God." 
 " Gloria Patri et Filio et Spiritui Sancto : 
 
 Sicut erat in principio et nunc et semper : 
 
 et in saecula saeculorum." 
 
 TEXTS FOR HARVEST THANKSGIVING. 
 
 While the earth remaineth, seed-time and 
 
 harvest shall not cease." 
 Man doth not live by bread alone, but by 
 
 every word that proceedeth out of the 
 
 mouth of the Lord." 
 The earth is the Lord's, and the fulness 
 
 thereof." 
 Thou visitest the earth, and blessest it , 
 
 Thou makest it very plenteous." 
 Thou crownest the year with Thy good- 
 ness." 
 Bless the Lord, O my soul, and iorget not 
 
 all His benefits." 
 
 Wine that maketh glad the heart of man, 
 
 and bread which strengtheneth man's 
 
 heart." 
 " He maketh peace in thy borders, and filleth 
 
 thee with the finest of wheat." 
 " Honour the Lord with thy firstfruits ; so 
 
 shall thy barns be filled with plenty." 
 " The harvest is the end of the world, and 
 
 the reapers are the angels." 
 " The bread of life." 
 
 " In due season we shall reap if we faint not." 
 " O all ye green things upon the earth, bless 
 
 ye the Lord."
 
 4 6 
 
 FOR SCHOOL FEASTS. 
 
 The fear of the Lord is the beginning of 
 wisdom." 
 
 Train up a child in the way he should go ; 
 and when he is old, he will not depart 
 from it." 
 
 Remember now thy Creator in the days of 
 thy youth, while the evil days come not, 
 nor the years draw nigh when thou shall 
 say, I have no pleasure in them." 
 
 " Suffer the little children to come unto Me, 
 
 and forbid them not : for of such is 
 
 the kingdom of God." 
 " Feed My lambs." 
 " Children, obey your parents in the Lord : 
 
 for this is right." 
 " Keep innocency, and hold fast the thing 
 
 which is right, for that shall bring a man 
 
 peace at the last." 
 " Come ye children and hearken unto me : 
 
 I will teach you the fear of the Lord." 
 
 Beside the texts here given there are scores, indeed hundreds, of others 
 equally appropriate to the various seasons of the Church or special occasions. 
 There are also many texts appropriate to the various parts of the Building. 
 As for example 
 
 THE PORCH. 
 
 This is none other than the House of God, 
 and this is the gate of Heaven." 
 
 I will offer in His tabernacle sacrifices of 
 joy." 
 
 Enter into His gates with thanksgiving, 
 and into His courts with praise." 
 
 Peace be within Thy walls." 
 
 I was glad when they said unto me, Let us 
 go into the House of the Lord.'' 
 
 THE FONT. 
 
 " Suffer the little children to come unto Me, 
 and forbid them not : for of such is the 
 kingdom of God." 
 
 " In nomine Patris et Filii et spiritus 
 sancti." 
 
 " Petite et accipietis." 
 
 " Spiritus ubi vult spirat." 
 
 " He that believeth and is baptized shall be 
 
 saved." 
 
 " Repent and be baptized." 
 " One Lord, one Faith, one Baptism." 
 " Ye must be born again." 
 " Haurietis aquas in gaudio de fontibus 
 
 salvatoris." 
 
 There is also the quaint Greek text, reading indifferently from left to 
 right, or vice versa 
 
 NI#ONANOMHMAMHMONANO#IN, 
 
 Which the writer has seen quaintly Englished, thus 
 
 " Wash off my sins from every part, 
 Not only face, but hands and heart."
 
 47 
 
 It is evident that on any part of the Church there may be sacred words, 
 which will emphasize the purpose for which it was designed. The following 
 additional examples may suffice. On the chancel gate 
 
 " Majestas domini per viam portae." Ezek. xliii. 4. 
 On the Retable (or elsewhere), this quaint device 
 Q^OSg^NGUIS ^IRUS^RISTI ^ULCEDINE ^AVIT 
 Or, " Delicise mece cum filis hominum." 
 
 These and countless other texts, either from Holy Writ or the Services 
 of the Church, may be written and read with profit. 
 
 When casting about for a suitable text for any given Festival, if one is 
 not found in the foregoing list, read the Services for the Day in the Prayer 
 Book, and either in Lessons, Psalms, Epistle, or Gospel some words are sure 
 to occur " eloquent to the understanding." 
 
 It has not seemed needful to give the textual references " chapter and 
 verse." A Cruden's concordance will supply the omission, should any text 
 happen to be unknown to the reader.
 
 CHAPTER IX. 
 
 SOME EMBLEMS OR SYMBOLS 
 USED IN DECORATION OF THE CHURCH. 
 
 It is manifestly impossible in a work of this size to give a complete list 
 of all the emblems of Christ and his Saints, or of the countless symbols in 
 which the faith of Christians has found expression. A few of the more common 
 and better known are here set forth with such explanations as seem needful. 
 Nearly all of them are figured on Plates X XIV. 
 
 I. 
 THE HOLY NAME. 
 
 The two sacred names, official and personal of our Lord, as every one 
 knows, are Xpivros ' 
 
 How and why these two Greek names became represented and mis- 
 represented in religious art by the various symbols employed from the days of 
 the catacombs to these days of " decoration " is not so well known. 
 
 I H C O T C In old " Uncial " MSS. the names read (i), and as 
 
 X P I C T O C contractions were frequently employed the same names 
 
 ( l ) are as likely as not to stand (2) written with three letters 
 
 I H I H C *" e "* t ^ ie fi rs * * wo anc ^ t ' ie ^ as * ^ eac h worQl ), T p 
 
 or with (3) simply the first and last letters, or 
 
 X P C (4) with the first two of each. 
 
 The sign of Constantine the " Labarum " as it is called, is a monogram 
 formed by the two first letters of the name Xpicrros. Of this there are almost 
 innumerable varieties, for example of which these may suffice.
 
 49 
 
 In early times the name of Christ preponderated (naturally), since the 
 name Jesus was not yet separated from common use and did not so clearly 
 point to the Divinity. 
 
 Later on the tendency was in a direction exactly contrary, and Jesus 
 prevailed. 
 
 H lit S) (U/^> ^ would appear that during the transitional 
 
 period when the Greek names were becoming 
 Latinized the seeds of error were sown. 
 
 The example here given (from an old 
 is a curious example of the process of crystallization, 
 and it is the more remarkable that the same coin 
 bears upon its reverse side the words 
 3 
 
 MMA f> 
 
 fc xc 
 
 Here we have C = X, C = S, F? = H, L = A, 
 yet all seemingly interchangeable. 
 
 As the old Sigma (C) was much more like C than S it was accounted 
 
 IHC for emblematical purposes equivalent, and the two names 
 
 X PC appeared (5) in Roman lettering. Later on in Mediaeval times 
 
 they were written in black letter. But it is to be supposed that some person of 
 
 j IT moderate information was aware that the letter C really repre- 
 
 TJ sented S; accordingly the monogram was written J Ij S (7). 
 
 The Renaissance found the 5 and preserved the letter while changing 
 the type, giving us the familiar Jesuit monogram (8). 
 
 Tradition has not handed down the name of the ingenious 
 derivator who translated this monogram into the words lesns 
 Plominum Salvator, which is about as reasonable (on antiquarian 
 grounds) as the English rendering _of a small child I Have 
 Suffered. 
 
 (8) To return, however, a few centuries, the Ij was evidently 
 
 too much for them, and, accordingly, the scribes who wrote the name of Jesus in 
 full, left it there " stranded " between the other letters t!j5U5. They knew that 
 Jerusalem was written with H, and that S. Jerome had the same letter in his 
 name, Ijumsaltttt IjiWOttgntllS, and, therefore, perhaps they felt it un- 
 fitting to write the greater name more scantily ! Accordingly, the name was 
 
 G
 
 5 
 
 all but universally written Ihesus, not only in Latin, but also in English and 
 French, until in Post-Reformation times, the h gradually dropped out as it had 
 crept in. 
 
 When the sacred name is introduced into mediccval decoration, it should 
 be spelt in the middle age fashion, tljfSUS, i\Jt, iljS, or |JC, whereas in 
 Renaissance work it should be written (in Roman letters) I. U.S. or X.P.C. Or 
 if the symbols are preferred, thus :
 
 II. 
 
 OTHER SYMBOLS OF OUR LORD. 
 AGNUS DEI. 
 
 Under this figure the Redeemer is constantly described in the Old 
 Testament, as well as the New ; and the Lamb was adopted in the earliest 
 ages of Christianity as the type of our Lord, the most ancient perhaps being 
 the figure of the lamb standing on a mount with the four rivers flowing from it. 
 Some examples unite with the lamb the attributes of the Good Shepherd viz., 
 the crook and vessel of milk. Or the lamb is shown " as it were slain," either 
 standing upon the altar, as in the famous picture of the adoration of the lamb, 
 or lying upon the " book with the seven seals." The Agnus Dei is depicted 
 with the peculiar nimbus of the Divinity, and carrying the cross, with the 
 banner of the resurrection. Fig. I, PI. XI. 
 
 ALPHA AND OMEGA. 
 
 The first and last letters of the Greek alphabet are constantly used with 
 the monogram of our Lord's name, with the cross, or as separate devices, 
 Fig. 6c, PI. XI. 
 
 ANCHOR. 
 
 The anchor is the emblem of hope, the cross-beam giving it a Christian 
 signification as the emblem of faith. The heart, the emblem of charity, com- 
 pletes the symbols of the three graces. Fig. 12, Plate XL, etc. 
 
 THE CROSS (See Plate XII). 
 
 " Among the first Christians, the instrument of God's suffering and 
 " man's redemption, the Cross was made the chief emblem of their Faith, the 
 " chief mark of their Community, their Standard and their Watchword." * 
 
 * Hope's Historical Essay on Architecture.
 
 52 
 
 This " Sign of the Son of Man " on earth has taken many forms, nor is 
 it easy to decide which was the shape of the " True Cross," since the erravpos 
 (or stake) used for crucifixion was not of necessity formed crosswise. Great 
 difference of opinion has existed on this point. 
 
 Many have thought that the cross on which our Lord redeemed us was 
 the " Tau," while others maintain that the Latin cross is the cross of Christ. 
 
 (a) The Tau, or Egyptian Cross, is, without doubt, pre-Christian, and 
 may well have the name given to it by Didron, the "Anticipatory" Cross. 
 Tradition gives this form to the wood carried by Isaac, and to the pole on which 
 the brazen serpent was suspended. 
 
 The words of Ezekiel, ix, 4, " Transi in medio Jerusalem et signa Tau- 
 super pontes virorum " are thus referred to by Tertullian " Ipsa enim litera 
 graecorum Tau nostra antem J species crucis." This type of cross, however, 
 is usually given to the malefactors in representations of the crucifixion, partly, 
 it may be presumed, because no " accusation " is shown. 
 
 The Labarnm of Constantine is the J cross surmounted by a crown, 
 containing the monogram of Christ, answering to the title which surmounted 
 the actual cross of Christ, and which, according to the Roman custom, would 
 be carried separately, declaring the name of the person to suffer and the cause 
 of his punishment. To the horizontal bar of the Labarum was suspended a 
 purple curtain resplendent with jewels. Our Lord is often represented in 
 paintings of the resurrection carrying a Cross bannered in a similar manner. 
 
 (6) The Latin Cross is to us of the West naturally the most familiar 
 form*, and either on this (or the Tau) our Lord doubtless hung. Hence it is 
 called the Cross of the Passion. 
 
 (c) The Greek Cross differs from the Latin Cross, in having its four 
 arms equal, instead of the lower being longer than the other three. 
 
 (d) The Cross of Calvary is the Latin Cross, mounted on three steps, 
 figuring Faith, Hope, and Charity, which words are sometimes found inscribed 
 on the steps, on "the greatest of which is Charity." 
 
 (d) The Cross Flenrie is, as the name implies, one with floreated ends. 
 The Hymn, Lustra sex, aptly expresses the wish to show the tree changed from 
 that of shame to that of glory. 
 
 Crux fidelis, inter omnes 
 Arbor una nobilis 
 Nulla talem silva profert 
 Fronde flore germine. 
 
 (e*) The Cross Fleurettee, 
 
 * And, alas, by familiarity treated with contempt, being thought a fit adornment for watch 
 
 chains and umbrellas !
 
 53 
 
 (/) The Maltese Cross was borne by the Knight Templars, as also by 
 the Knights of S. John. 
 
 (g) The Patriarchal Cross has a double cross bar. 
 (//) The Papal Cross has a triple one. 
 
 Other heraldic varieties used in " Blazonrv " are 
 
 (i) The Saltire or Cross of St. Andrew (and St. Patrick). 
 
 (/) The Pointed Cross. 
 
 () The Cross Quadrate. 
 
 (I) The Cross Quarter, pierced, or quarterly pierced (/*). 
 
 (in) The Cross Moline. 
 
 (n) The Cross Patonce. 
 
 (o) The Cross Pommee. 
 
 (p) The Cross Urdec. 
 
 (q) The Cross Crosslct. 
 
 (r) The Cross Fitehce (i.e., sharpened at the base). 
 
 (s) The Cross Pati-e. 
 
 (/) The Cross Botonce (or trefoiled). 
 
 (n) The Cross Potent (u* the same rebated). 
 
 (v) The Cross FonrcJiia'. 
 
 (w) The Cross Recercelee. 
 
 \.r) The Cross of lona. 
 
 Besides these there are others formed by the different heraldic " border " 
 lines, e.g., 7 and 3, are respectively engrailed and ragulee. 
 
 Any " charge " or device used in decoration may be represented cross- 
 wise, or " in cross.'' Thus, four crowns, or crosses, or stars, or fleur-de-lys 
 may be so arranged. 
 
 The smaller crosses, shown on Plates XII., and numbered i 10, are 
 examples of various oriental varieties, mostly of early date. 
 
 The Candle Stick (Fig. 7, PI. XL), with seven lights, is often found in 
 early times. In later ages men preferred to " realize," and such a seven- 
 branched light was in use on the altar of Durham Cathedral until compara- 
 tively recent days. 
 
 The Hand. D extern doinlni (Fig. 31, PI. XIV.), is not unfrequently found
 
 54 
 
 in ancient work. It is a suggestive emblem of Him who so often used His 
 own hand to bless, and who now sitteth " at the right hand of the Father." 
 
 The Fish, which is indeed rather a " rebus '' than an emblem, was 
 very early employed to figure to us Him who made His disciples " Fishers of 
 men ;" but, secondarily, it was used to refer to Christians, who, like fish, live 
 by water, as Tertullian says, " Nos pisciculi secundum l-^Qvv nostrum in 
 aqua nascimur." The explanation of this anagram is sufficiently well- 
 known 'I/jcrous XPMTTOS eov Tibs ^wrr/p. Hence comes the symbolic use 
 of the shape in Christian architecture, called the vesica piscis, (Fig. n. PI. XI.) 
 the bladder of a fish having somewhat this form. 
 
 Three fishes interlaced are the common emblems of Baptism (Fig. 10, 
 PI. XL) 
 
 The Lion is commonly (though possibly erroneously) taken as a symbol 
 of Christ, the " Lion of the Tribe of Judah." 
 
 The Peacock is taken by Martigny and others as an emblem of the 
 Resurrection. S. Augustine speaks of it as figuring immortality, and says 
 that its flesh is incorruptible ! 
 
 The Pelican (Fig. 2, PI. XL), shows us the love of Christ in leaving us the 
 Sacrament, wherein " Our souls may be washed in His precious blood." The 
 Pelican was supposed, in ancient times, to pierce her breast, either to feed her 
 young or else to restore them when bitten by serpents. 
 
 The Phoenix (Fig. 3, PI. XL), though not of Christian origin, was readily 
 adopted, in very early times, as a type of the Resurrection. 
 
 The Passion. Emblems of the suffering of Christ were very common in 
 later mediaeval times, either singly on shields or in groups. Carved or painted they 
 are to be met with in bosses, screens, stall ends, windows ; in fact, in almost 
 every position. 
 
 The common emblems are the following : 
 
 (a) The cross. 
 
 (6) The five wounds. 
 
 (c) The lantern, the swords and staves, the cock. 
 
 (d) The whips, rods and scourges, and the pillar. 
 
 (e) The spear, the reed, the basin and sponge. 
 (/) The crown of thorns. 
 
 (g) The vesture and dice. 
 
 (h) The three nails, the pincers and the hammer, 
 i The ladder. 
 
 (j) The label I I. N. R. I. 
 
 Most of these will be found figured on Plate X.
 
 55 
 
 The Passion Flower was never represented in early art for the simple 
 reason that it was unknown. On its first introduction to Europe it was supposed 
 to be a " pious fraud " of the Jesuits, and its symbolism too complete to be true ! 
 
 The only conventional representation (and one of the earliest, with which 
 the writer is acquainted occurs in the "Tableau de la Croix" published in 
 1651. This, slightly altered, is drawn on PI. XIII. (Fig. 14). 
 
 The Pomegranate (Fig. 23 and 24, PI. XIV.) is taken either as a symbol of 
 Christ's Royalty or of Immortality. It is shown either just opening and disclosing 
 the wealth of seed within, or it is "voided" and filled with the monogram of 
 our Lord, in i4th and i5th century embroidery; it is perhaps the commonest 
 " flower." 
 
 The Rose and the Lily do not appear at first to have been used with any 
 special reference to Christ the Rose of Sharon and the Lily of the Valley ; 
 and when the brilliant scarlet hue of the said "lily " is taken into account the 
 modern lily of the valley is scarcely its legitimate representative. The Rose 
 was in later times, however, a favourite device ; several are figured on PI. XIV., 
 Fig. 20 and 21, are en soldi, i.e., with the glory of the sun. 
 
 The Star of Bethlehem, Fig. 13, Plate XL, is one of the commonest and 
 best known of Christian emblems. Usually it has five points, sometimes seven 
 (Fig. 14), and occasionally 9 (Fig. 8), when, however, it would more properly 
 typify the nine-fold gifts of the Holy Spirit. 
 
 Tiie Sun, Fig. 9, Plate XL, was often used in mediaeval decoration, probably 
 to typify our Lord Sol justitice. Its use (with the moon) in representations of 
 the Crucifixion is too well known to need more than mention. 
 
 The Ship or Ark (Fig. 5, PI. IX.) is the emblem of the Church of Christ. 
 
 The Staff was a favourite emblem in mediaeval times of the " desire '' of 
 Christians for the Sacraments. 
 
 The Blessed Sacrament. The emblem in mediaeval times was the 
 chalice with the circular bread (Fig. 5, PI. X.), and perhaps no better or more 
 scriptural one could be devised than "the cup which we bless, and the bread 
 which we break." 
 
 The Good Shepherd. Under this guise our Blessed Lord was represented 
 in the three first centuries, after which time the image died out, and has rarely, 
 if ever, been reproduced until within the last few years. 
 
 The Vine is another ancient emblem of Christ (the True Vine), but it 
 has never been much used since the fifth century ; save in purely decorative 
 form, as in running foliage in wood and stone carving, where it is far from 
 probable that any reference was intended. 
 
 The common nineteenth century symbols of the sacrament, the " wheat 
 and grapes,'' do not appear to have any sure foundation in antiquity.
 
 5 
 
 The " Whale " of Jonah is another early emblem of Christ in his 
 resurrection. 
 
 The Wise Men's Offering of Gold Incense and Myrrh, as also their three 
 crowns, are Epiphany or Christmas symbols. 
 
 The Blessed Trinity. 
 
 The Triangle, or two interlaced Triangles, or again three Circles or a 
 trefoil are sufficiently common emblems, but the most striking is the beautiful 
 figure shown on Plate XI. (fig. 21); the octagon is the symbol of regeneration, 
 the circle of eternity. 
 
 The Holy Spirit is shown by the Dove (Fig. i, PI. XIII.), or by the 
 Flames of Pentecost ; so also by the seven foil, or by the seven lamps. 
 
 No representation of the Almighty Father was ever attempted in the 
 purer days of Christian Art ; and although many late examples exist wherein 
 the first person of the Blessed Trinity is shown with long beard and crowned 
 with the Papal Tiara, it is enough to refer to such without attempting to 
 reproduce them. 
 
 III. 
 EMBLEMS OF THE ANGELS. 
 
 THE ANGELS. 
 
 " The companion of S. Michael." 
 
 According to S. Dionysius and common tradition there are nine orders 
 of angels, divided into three choirs. 
 
 I. COUNCILLORS. (Fig. 16, PI. XIII.) 
 
 (a) Seraphim. Shown covered with eyes. 
 
 (b) Cherubim. With six wings, standing on wheels. 
 
 (c) Thrones. Shown with a throne or tower. 
 
 II. GOVERNORS. (Fig, 18.) 
 
 (a) Dominations. Shown with a sword, triple crown, sceptre, orb or 
 
 cross. 
 
 (b) Virtues. Shown in full armour, with crown or censer. 
 
 (c) Powers, Shown holding a baton, or chaining devils.
 
 57 
 
 III. MESSENGERS. (Fig. 17.) 
 
 (a) Princedoms. Holding a lily. 
 
 (b) Archangels. 
 
 S. Michael trampling on the devil, or with a pair of scales. 
 S. Raphael, with a pilgrim's staff, or fish and wallet. 
 
 S. Gabriel, with a lily, or with sceptre and shield, bearing the 
 name of the B.V.M. 
 
 S. Uriel, a scroll and book. 
 
 (c) Angels. Shown bearing scrolls. 
 
 Shields of the passion, musical instruments, etc. etc. 
 
 IV. 
 
 EMBLEMS OF THE EVANGELISTS AND APOSTLES. 
 (a) THE FOUR EVANGELISTS. 
 
 5. Matthew, the Angel. (Fig. i, PI. X.) 
 S. Mark, the Lion. (Fig. 2.) 
 6\ Luke, the Ox. (Fig. 3.1 
 S. John, the Eagle. (Fig. 4. ) 
 
 Sometimes these four are united in one, as described in the "Apocalypse " 
 of Ezekiel, where the " Living creatures" had the "face of a man, an ox, a 
 lion, and a flying eagle." 
 
 These same symbols have been applied also to the four archangels, the 
 four doctors of the Western Church, and the four great prophets; but their use 
 is now so generally confined to the Evangelists, that little uncertainty is 
 likely to arise as to their meaning, if employed in Church decoration. 
 
 H
 
 (b) THE EMBLEMS OF THE TWELVE APOSTLES 
 
 Will be found described under their names in V. ; one of each is repre- 
 sented on a shield on Plate XIII. (see Figs. 2 13). These emblems here 
 given are not the only ones ; in fact, many of the twelve apostles counterchange 
 their emblems, and it is best to add the names, as in the examples figured. 
 
 V. 
 EMBLEMS OF THE SAINTS. 
 
 5. Agatha. Breasts in a dish, an eye in pincers. 
 
 5. Agnes. Lamb on a book, Lamb and palm. 
 
 5. Aidan. A stag. 
 
 S. Alban. Cross and square cap and sword. 
 
 5. Alphege. A chasuble full of stones. 
 
 5. Ambrose. A scourge, a beehive. 
 
 5. Andrew. A cross saltire. 
 
 5. Ann. The B. V. M. as a child by her side. 
 
 5. Anselm. A vision of the B. V. M. and infant Saviour. 
 
 5. Anthony. A clutched staff and bell, a pig with bell round its 
 
 neck, a torch and bell, the devil in goat's form. 
 
 SS.Aquilaand Priscilla. Shoemaker's tools and tent. 
 S. Athanasius. An open book, two columns. 
 
 S. Augustine of Hippo. An inflamed heart, an arrow, an eagle, a child with 
 
 spoon or shell by the sea shore. 
 
 S. Augustine of England. Banner of the crucifixion, baptising King Ethelbert. 
 
 5. Barbara. A tower and palm, or chalice. 
 
 S. Barnabas. S. Matthew, gospel in the hand, three stones. 
 
 5. Bartholomew. A flaying knife and a book. 
 
 S. Basil. A lioness.
 
 5. Benedict. 
 S. Bernard. 
 
 S. Blaize. 
 
 S. Boniface. 
 
 S. Bridget (of Kildare}. 
 
 S, Catharine. 
 
 S. Cecilia. 
 
 S. Chrysostom. 
 
 S. Christopher. 
 
 S. Clement. 
 
 S. Columba of lona. 
 
 S. Crispin. 
 
 S. Cuthbcrt. 
 
 S. Cyprian 
 
 S. Cyril. 
 
 S. David. 
 
 S. Denis or Dionysius. 
 
 S. Dominic. 
 
 S. Dorothy. 
 
 S. Duns tan. 
 
 S. Ethelburga. 
 
 S. Edmund, King. 
 
 S. Edmund, Bishop. 
 
 S. Edward, King & Martyr. 
 
 S. Edward, Confessor. 
 
 S. Elizabeth. 
 
 S. Elizabeth of Hungary. 
 
 S. Erasmus. 
 
 S. Ethcldreda. 
 
 59 
 
 A cup on a book with serpent, a raven, a pitcher, 
 a ball of fire. 
 
 The instruments of the passion, a white dog-bee- 
 hive. 
 Crozier and book, a wool comb, a pig's head. 
 
 Book pierced with sword, a scourge. 
 A flame over head. 
 
 A wheel set with spikes, hailstones descending on 
 her torturers. 
 
 An organ, a violin, a harp, a wreath of red roses. 
 A beehive, chalice on Gospels. 
 
 The Holy Child borne on the giant's shoulder, a 
 
 lantern. 
 Mitre, double or triple cross, anchor, a fountain. 
 
 A bear's den. 
 
 Shoemaker's tools. 
 
 The head of S. Oswald, swans, and otters. 
 
 Gridiron and sword, books of magic burning. 
 
 The B. V. M. appearing. 
 
 A dove on the shoulder. 
 
 Mitred head carried in the hands or on a book. 
 
 A lily, a star on his forehead. 
 
 Basket of fruit (and flowers). 
 
 The Devil caught by pincers, a troop of angels. 
 
 The instruments of the Passion. 
 
 Arrows piercing him, arrow and sceptre. 
 
 The Holy Child. 
 
 Dagger and cup, dagger and sceptre. 
 
 A sceptre, a ring held in left hand, a purse hanging 
 from right arm. S. John's Gospel. 
 
 Shown saluting the B. V. M. 
 
 A triple crown, a basket of bread, and flagon of wine. 
 
 A windlass (with entrails wound round it). 
 
 A crozier and crown of flowers.
 
 6o 
 
 5. Enurchus. 
 
 S. Fabian. 
 
 S. Faith. 
 
 S. Francis of Assisi. 
 
 S. Genevieve. 
 
 S. George. 
 
 S. Giles. 
 
 S. Gregory, Thaumaturgus 
 
 S. Gregory, Nazianzen. 
 
 S. Gregory the Great. 
 
 S. Helena. 
 
 S. Hilary of Poictiers. 
 
 S. Hubert. 
 
 S. Hugh. 
 
 S. Ignatius 
 
 S. jfames the Great. 
 
 S. James the Less. 
 
 S. Januarius. 
 
 S. Jerome. 
 
 S. Joanna. 
 
 S. John, Baptist. 
 
 S. John, Evangelist. 
 S. Joseph. 
 
 S. Jude. 
 S. Laurence. 
 S. Leo. 
 S. Leonard. 
 S. Lucy. 
 
 S. Luke, 
 
 A dove on the head. 
 
 A block at which he kneels, a dove, etc. 
 
 An iron bed, book, and bundle of rods. 
 
 A crown of thorns, the stigmata. 
 
 A shepherdess spinning. 
 
 A dragon slain by him with spear. 
 
 A hind, an arrow. 
 
 Devils driven out of a temple. 
 
 Shown reading, Wisdom and Chastity appearing 
 to him. 
 
 Double barred cross, triple cross and tiara, A vision 
 of Christ in his passion on the altar. 
 
 The " True Cross," Church of Jerusalem in her hand. 
 
 An island with serpents, a child in a cradle. 
 
 A stag (on a book), a crucifix between its horns. 
 
 A vision of seven stars, a lantern, a swan. 
 
 In chains exposed to lions. 
 
 A pilgrim's staff, shell, hat and wallet. 
 
 A fuller's club, a saw. 
 
 A heated oven, a vial of blood. 
 
 A cardinal's hat, a lion. 
 
 An ointment box. 
 
 A lamb on book, a garment of camel's hair, a locust, 
 a head on a dish. 
 
 A cup with serpent coming out, an eagle. 
 
 A rod blossoming with lilies, a carpenter's square 
 (or tools). 
 
 A boat, a club, an inverted cross, a halbert. 
 A gridiron, a bag of money. 
 On horseback, attila and soldiers kneeling. 
 An ox, chains and crozier. 
 
 Eyes in a dish (or on a book), a sword through her 
 neck. 
 
 An ox, a painting of the B. V M,
 
 6i 
 
 S. Margaret. 
 
 S. Margaret of Scotland. 
 
 S. Mark 
 
 S. Martin. 
 
 The Blessed Virgin Mary. 
 
 S. Mary Magdalene. 
 S. Matthias. 
 
 S. Matthew. 
 
 S. Monica. 
 S. Nicholas. 
 
 S. Oswald King. 
 S. Pancras. 
 S. Patrick. 
 
 S. Paul. 
 S. Perpetua. 
 S. Peter. 
 
 S. Philip. 
 
 S. Poly car p. 
 S. Prisca. 
 S. Rcmigius. 
 S. Richard. 
 S. Rupert. 
 S. Sebastian. 
 S. Simon. 
 S. Stephen. 
 
 S. Sylvester 
 
 A dragon chained. 
 
 Shown visiting the sick, holding a black cross. 
 
 A lion, a fig tree. 
 
 A goose, a beggar receiving half the Saint's cloak. 
 
 The lily, the marigold, the crowned M. R., the 
 Fleur-de-Lys, the Ark of the Covenant, the ser- 
 pent's head beneath her feet, &c. 
 
 A box of ointment, a skull. 
 
 A halbert or lance, a stone, a sword held by the 
 
 point. 
 An angel, a dolphin, a money bag, a battle axe, a 
 
 square, &c. 
 
 A handkerchief and open book. 
 
 Three children (in tub), three golden balls, an 
 anchor. 
 
 Sceptre and cross. 
 A sword and stone. 
 
 Serpents at his feet, a fire before him, the "trefoil " 
 or shamrock. 
 
 A sword (and book), three springs of water. 
 A wild cow. 
 
 A key, or two keys, one gold and one silver, a cock 
 crowing, an inverted cross. 
 
 A basket, two loaves and a cross, a spear and 
 double cross. 
 
 A pile of wood in flames. 
 
 A lion (or two lions), an eagle, a sword. 
 
 Carrying holy oils. 
 
 A plough. 
 
 A salt box. 
 
 A bunch of arrows, the same piercing him. 
 
 A fish (or two fishes), an oar, a fuller's bat, a saw. 
 
 Stones in a napkin, in Dalmatic or in hand, or one 
 on the head. 
 
 Constantine being baptised, an ox, a double cross, a 
 tiara.
 
 62 
 
 5. Thomas, Apostle. 
 S. Thomas a Beckct. 
 
 S. Thomas Aquinas. 
 
 S. Ursula. 
 
 S. Vedast. 
 
 S. Veronica. 
 
 S. Vincent. 
 
 S. William of Norwich. 
 
 S. William of York. 
 
 S. Winifred. 
 
 A spear or lance, a square shown also touching the 
 sacred wounds. 
 
 Pallium, archi-episcopal cross, sword across the 
 back of his head. 
 
 A star or sun on the breast, chalice and host. 
 
 An arrow, a dove, a book. 
 
 A wolf with a goose in its mouth. 
 
 The handkerchief with the Saviour's face. 
 
 An iron hook, a gridiron, a crow. 
 
 A crucified child, three nails. 
 
 An Archi-episcopal cross. 
 
 A head carried in her hands. 
 
 A List of certain flowers appropriated to the various days in the 
 calendar is here given, extracted from a book by W. A. BARRETT, entitled, 
 " Flowers and Festivals. 1 " 
 
 JANUARY. 
 
 1. The Circumcision. Laurustinus, Vibur- 
 
 num tinns. 
 
 6. The Epiphany. Common Star of Beth- 
 lehem, Ornithogalum. 
 
 8. S. Lucian, P. M. Common laurel, 
 Laurus. 
 
 13. S. Hilary, B. C. D. Barren strawberry. 
 
 Fragaria stcrilis. 
 
 18. S. Prisca, V. M. Four-toothed moss, 
 Bryum pellucidum. 
 
 20. S. Fabian, B. M. Large dead nettle, 
 
 Latnium garganicum. 
 
 21. S. Agnes, V. M. Black hellebore or 
 
 Christmas rose, Helleborus niger, 
 Flore albo. 
 
 22. S. Vincent, D. M. Early willow grass, 
 
 Draba verna. 
 
 25. Conversion of S. Paul. Winter hellebore, 
 Helleborus hycmalis. 
 
 FEBRUARY. 
 
 2. Purification B. V. M. Snowdrops, 
 
 Galanthus nivalis, 
 
 3. S. Blasius, B. M. Great water moss, 
 
 Fontinalis antepyrctica. 
 5. S. Agatha, V. M. Common primrose, 
 Primula vnlgaris. 
 
 14. S. Valentine, B. M. Yellow crocus, 
 
 Crocus mcesiacus. 
 
 24. S. Matthias. Mezereon, Daphne mcz- 
 
 ereum. 
 
 MARCH. 
 
 1. S. David, Abp. C. Leek, A Ilium porrum. 
 
 2. S. Chad, B. C. Dwarf cerastium, Cer- 
 
 astium pcnnilum. 
 
 7. S. Perpetua, M. Early daffodil, Nar- 
 cissus pseudo, Narcissus simplex. 
 12. S. Gregory, B. C. D. Channelled ixia, 
 Ixia bulbocodium. 
 
 17. S. Patrick, B. C. Shamrock, trefoil, 
 
 trifolium repots. 
 
 18. S. Edward, K. M. Great leopard bane, 
 
 Donoricum pardalionetcs. 
 21. S. Benedict, Abb. Herb bennet, Gcnon 
 urbanum ; and way bennet or wild 
 rye, Hordcum murinum; also, bulbous 
 fumitory, Fumaria bulbosa. 
 
 25. The Annunciation. Marigold, Calendula 
 
 officinalis. 
 
 APRIL. 
 
 3. S. Richard, B. C Evergreen alkanet, 
 
 Anchusa scmpermrens. 
 
 4. S. Ambrose, B. C. D. Meadow orchis, 
 
 Orchis mascula. 
 
 19. S. Alphege, Abp. M. Ursine garlic, 
 
 Ilium Aursinum. 
 23. S. George, M. Harebell, Hyacinthus 
 
 nonscriptus. 
 25. S. Mark. Clarimond tulip, Tulipaprcecox.
 
 MAY. 
 
 i. S. Philip. Red tulip, Tulipa Gcsncri. 
 3. Invention of the Cross. Poetic narcisse, 
 
 Narcissus poeticus. 
 
 ig. S. Dunstan, Abp. C. Monkshood, Acon- 
 itnin Napcllus. 
 
 26. S. Augustine, Abp. C. Rhododendron, 
 
 Rhododendron ponticum. 
 
 27. Ven. Bede, P. C. Yellow bachelor's 
 
 button, Ranunculus acris plenus. 
 
 JUNE. 
 
 1. S. Nicomede, P. M. Single yellow rose, 
 
 Rosa lutca. 
 
 5. S. Boniface, B. M. Three-leaved rose, 
 Rosa sinica. 
 
 ii. S. Barnabas. Midsummer daisy, Chry- 
 santhemum Icucanthcmum. 
 
 17. S. Alban, M. Feather grass, Stipa 
 pcnnata. 
 
 24. Nativity of S. John Baptist. S. John's 
 
 wort, Hypcricum pulchrum. Tutsam, 
 Hypcricum Androsamum. Chrysan- 
 themum, also gooseberries. 
 29. S. Peter. Yellow rattle, Rhinanthus 
 Galli. 
 
 JULY. 
 
 2. Visitation B. V. M. White lily, Lilium 
 
 candid urn. 
 15. S. Swithun, B. C. Small cape marigold, 
 
 Calendula pluvialis. 
 20. S. Margaret, V. M. Virginia dragon's- 
 
 head, Dracocephalus mrginianum. 
 22. S. Mary Magdalene. African lily, Aga- 
 
 panthus umbcllatus. 
 
 25. S. James. S. James' cross, Amaryllis 
 
 formosissima. S. James' wort, Senccio 
 Jacobcca. 
 
 26. S. Anne. Common chamomile, Mat- 
 
 rlcarica chamomilla. 
 
 AUGUST. 
 
 Lammas Day, i.e. "S. Peter ad Vincula." 
 Stranomy, Datura stramonium. 
 
 6. Transfiguration. Common meadow saf- 
 
 fron, Colchicum autumnalc. 
 
 7. Holy Name of Jesus. Common amaranth, 
 
 Amaranthus hypochondriacus. 
 10. S. Lawrence, D. M. Common balsam, 
 
 Impaticns balsama. 
 15. Assumption B. V. M. Virgin's bower, 
 
 Clematis vitalba. 
 24. S.Bartholomew. Sunflower, Hdianthus 
 
 annuus. 
 
 28. S. Augustine, B. C. D. Golden rod, 
 
 Solidago virgurca. 
 
 29. Beheading of S. John Baptist. S. John's 
 
 wort, Hypercium clodes. 
 
 SEPTEMBER. 
 
 i. S. Giles, Abb. S. Giles' orpine, Sediini 
 tchphium. 
 
 7. S. Enurchus, B. C. Starwort, Callitrichc 
 
 autumnalis. 
 
 8. Nativity, B. V. M. Bryony, our Lady's 
 
 Seal. Red berried bryony, Bryonia 
 
 dioica. 
 14. Holy Cross day. Blue passion flower, 
 
 Passiflora ccerulea. 
 17 S. Lambert, B. M. Narrow-leaved 
 
 mallow, Malva angustifolia. 
 21. S. Matthew. Cilcated passion flower, 
 
 Passijlora cilcata. 
 26. S. Cyprian, Abp. M. Starwort, Aster 
 
 tripolitim. 
 
 29. S. Michael and All Angels. Michaelmas 
 
 daisy. Aster tradescanti. 
 
 30. S. Jerome, P. C. D. Golden amaryllis, 
 
 Amaryllis aurea. 
 
 OCTOBER. 
 
 i. S. Remigius, Abp. C. Lowly amaryllis 
 or S. Remy's lily, Amaryllis humilis. 
 
 6. S. Faith, V. M. Late feverfew, Pyrethrum 
 scrotiniiin. 
 
 9. S. Denys', B. M. Milky Agaric, Agar- 
 icus factiflorus. 
 
 17. S. Etheldreda, Q. V. C. Ten-leaved sun- 
 
 flower, Helianthus decapctahis. 
 
 1 8. S. Luke. Floccose agaric, Agaricus 
 
 floccosus. 
 25. S. Crispin, M. Flea-bane Starwort, Aster 
 
 conizoides. 
 28. SS. Simon and Jude. S. Simon, late 
 
 chrysanthemum, Chrysanthemum scro- 
 
 tinum. S. Jude, scattered Starwort, 
 
 A stcr passiflorus. 
 
 NOVEMBER. 
 
 i. All Saints. Sweet bay, Laurus nobilis. 
 Dark red sunflower, Helianthus atro 
 rubcns. 
 
 6. S. Leonard, D. C. Yew, Taxus baccata. 
 ii. S. Martin, B. C. Weymouth pine, Pinus 
 
 strobus. 
 
 13. S. Britius or Brice, B. C. Bay, Laurus 
 boeticus.
 
 6 4 
 
 15. S. Machutus, B. C. Sweet colesfoot, 
 Tussilagofragrans. 
 
 17. S. Hugh, B. C. Free stramony, Datura 
 arborea. 
 
 20. S. Edmund, K. M. Red stapelia, Stapelia 
 rufa. 
 
 22. S. Cecilia, V. M. Trumpet-flowered 
 
 wood sorrel, Orchis tubiflora. 
 
 23. S. Clement, B. M. Convex wood sorrel, 
 
 Oxalis convexula. 
 
 25. S. Catherine, V. M. Sweet butter bur, 
 Pctasites vulgaris. 
 
 30. S. Andrew. S. Andrew's cross, or com- 
 mon ascyrum, Ascyrus vulgaris. 
 
 DECEMBER. 
 
 6. S. Nicholas, B. C. Nest-flowered heath, 
 
 Erica mdiflora. 
 8. Conception B. V. M. Abor vitae, Thuja 
 
 occidentalis. 
 13. S. Lucy, V. M. Cypress abor vitas, 
 
 Thuja cupressoides. 
 
 21. S. Thomas. Sparrow wort, Erica pas- 
 ser ina. 
 
 25. Christmas. Holly, Ilex baccijiora. 
 
 26. S. Stephen, Proto-M. Purple heath, 
 
 Eriea purpurea. 
 
 27. S. John. Flame heath, Erica Jiainma. 
 
 28. Holy Innocents or Childermas. Bloody 
 
 heath, Erica cruenta. 
 
 31. S. Sylvester, B. C. Genista heath, 
 Erica genistopha. 
 
 MOVABLE FEASTS. 
 
 Passion Sunday. Christ's thorn, Palisus 
 aculeatus. 
 
 Palm Sunday. Common palma Christi, 
 Ricinus communis. 
 
 Maundy Thursday. Laurel-leaved passion 
 flower, Passiflora rubra. 
 
 Good Friday. Long-sheathed anemone, 
 Anenome pulsatilla; also called pas- 
 sion flower. 
 
 Easter Eve. Spear-leaved violet, Viola lactea. 
 
 Easter Day. White lily, Lilium candidum. 
 
 Rogation Sunday. Rogation flower, Polygala 
 vulgaris. Common milkwort. 
 
 Ascension Day. Lilies of the valley, Cun- 
 vallaria tnajalis. 
 
 Whitsun Day. Columbine, Aquilegia vul- 
 garis. White thorn, Primus spinosa. 
 
 Trinity Sunday. Herb Trinity, Viola tricolor ; 
 also called Pansy, Violet, Heart's-ease. 
 Common white trefoil, Trifolium re- 
 pens. 
 
 VI. 
 
 SHIELDS 
 
 Are the commonest vehicles for emblems. Whether from a sense of being 
 suitable for the use of the Church " Militant," or, from the encroachments of 
 Heraldry on Church decoration, is uncertain. The Shield is capable of an 
 infinite variety of shaping, from the early three-cornered form to the grotesque 
 escutcheons, which used to glare upon our childish eyes from the hatchments 
 suspended on Church walls, whenever " a great man was dead." 
 
 On Plate XIII. the Emblems of the Twelve Apostles are, for convenience, 
 charged on Shields of various designs, arranged, more or less, chronologically, 
 as regards their shape. Fig. i, on which the Sacred Dove is drawn, shows the 
 typical early English Shield (which was for sometime, however, much longer}. 
 Figs. 2 and 4 show shapes a trifle later, while the rest in a descending scale, 
 carry us to the i6th century ; further than this it is not advisable to venture.
 
 65 
 
 VII. 
 CROWNS. 
 
 So distressing are the common forms, that the writer has thought it 
 worth while to make a somewhat extensive collection of examples, ranging 
 from noo to 1500. Some of these are sketched from Parker's Glossary, 
 some from Viollet le Due, and some from other sources. They may all be 
 depended on as " authentic," and it is hoped they will commend themselves to 
 the decorator as decidedly preferable to the spiky articles too commonly in use. 
 
 VIII. 
 FLEUR-DE-LYS. 
 
 Of these, five examples are given on plate XIV., Figs. 25 29; it is 
 probable, however, that the Parish Church in which the reader worships, will 
 provide as good, or better examples. 
 
 IX. 
 COLOURS. 
 
 The writer must plead to a certain amount of scepticism in the matter 
 of symbolism; as applied to colour it is commonly said that each colour has 
 its meaning, and that the mediaeval artists never used colour save with due 
 regard to its significance Credat Judaeus ! However, there is some truth in 
 the belief, and as regards the " liturgical '' colours," commonly used at the 
 present time, there is little obscurity. 
 
 White signifies rejoicing, purity, and light ; hence it is used at 
 Christmas and Eastertide, on Trinity Sunday, and on Feasts of the Blessed 
 Virgin, etc. 
 
 Red shows Divine Love, fire and blood, hence its use on Whitsunday 
 and on Martyrs' Feasts. 
 
 Purple or Violet is the colour of mourning and penitence, and, there- 
 fore, it is used in Advent from LXX. Sunday to Easter Eve, and on Ember 
 Days and Vigils' Rogation Days, and on the Feast of the Holy Innocents 
 (save on a Sunday, when red is used). 
 
 Green is the colour of repose, and is used in Trinity season and after 
 Epiphany, for whatever " blank " time there is before LXX. 
 
 * No venture must be made on the thin ice of " sarum colouris,'' a subject tempting, no 
 doubt, but too vast to be treated, save in a separate book. 
 
 I
 
 66 
 
 Blue is the colour of the Blessed Virgin ; it is also called the colour of 
 heaven. 
 
 Gold, they say, signifies glory. Aptly enough ; but why grey should 
 figure " innocence falsely accused," the writer is at a loss to explain. 
 
 A few words must be added on the heraldry of colour, which is specially 
 important when emblems are placed upon shields. 
 
 The heraldic " colours " are five 
 
 Red (gules), blue azure), green (vert), black (sable), purple (purpure). 
 
 The " metals," two- 
 Gold (or), and silver (argent). 
 
 And with regard to their use, the rule to which attention must be drawn is 
 this : a metal must not be put upon a metal, nor a colour upon a colour. 
 Hence if a shield is blue a red cross must not be put upon it ; nor if it is 
 silver (i.e., white) must anything be charged on it in gold ; but a red or blue, 
 or green ground, must be charged with gold or silver, and a gold or silver 
 ground with colour. 
 
 Care should be taken to avoid a meaningless, or too meaning, use of 
 heraldic figures, " bars," " chevrons," etc. ; and above all take care what is done 
 with a bend (TV" v which, when reversed, is the mark of illegitimacy. 
 
 The writer once saw it hung up as an appropriate decoration opposite the tomb 
 of a nobleman, whose first ancestor had that stain on his escutcheon
 
 CHAPTER X. 
 STRUCTURAL DECORATION. 
 
 i. ARCHES AND COLUMNS. 
 
 A few examples are given on Plate VI., showing the various treatments 
 suggested. After all, however, it must be considered in each case how the 
 object lends itself to ornamentation. Observation and experience are the only 
 sure guides ; and a few failures at first will lead to success sooner or later. 
 The cautions in Chapter II. will, it is hoped, preserve the decorators from the 
 many pit-falls into which their predecessors have been snared. The frontis- 
 piece of the book shows perhaps how far it is advisable to go in this direction. 
 
 Bear in mind that just as plain spaces and not ornament are to be 
 covered, so in an arch or column it is always a hollow or receding, and not a 
 projecting member, that invites foliage. 
 
 Sometimes it is safe, when the columns are tally to form a dado about 
 3 feet 6 inches high, by sewing light serge or cotton tightly round the column, 
 on the top of which a light cresting of leaves, or a decorated border may be 
 tied. 
 
 2. WALL SPACES. 
 
 Whatever words might be said on this matter have been fully anticipated 
 in the earlier pages of the book, and the reader can refer to them. 
 
 3. WINDOW SILLS 
 
 Can be very effectively decorated by procuring a board about an inch thick, cut 
 to the shape of the sloping sill, and having it perforated with holes all over 
 about two inches apart, and sticking sprigs of evergreens into these holes, 
 covering the board with moss. Another plan is to fit boards into all the window 
 sills, and cover them with moss or leaves, and form a text in everlasting flowers 
 to run all round the Church. 
 
 Texts on the same plan can of course be formed in various ways, such as 
 in straw tissue on a flock ground ; or if it is preferred, a device, instead of a 
 text, may be placed in the centre of each window sill on the groundwork of 
 leaves or moss. 
 
 The texts can also be illuminated in colours on calico or cartridge paper, 
 and surrounded with wreaths of evergreens. See Figs. 7, 8, 9, PI. VI.
 
 68 
 
 Here it is desirable to remark that wherever damp moss, or any other 
 material likely to leave a stain on the stonework, is used, it will be requisite to 
 put waterproof paper, or something of a like nature, underneath it. For this 
 reason the French dried moss is generally preferable for decorative purposes, 
 and it is also a better colour. For various suggestive sketches see Plate VII., 
 Plate I., &c. 
 
 4. SCREENS 
 
 Had better be left alone as much as possible. Metal is damaged more or less 
 certainly by contact with damp leaves. Wooden screens are hard to decorate 
 without the use of nails. 
 
 It is often feasible however, to lay a wreath of evergreens along the top 
 beam, or to sketch a text across the whole length. Troughs filled with moss 
 and flowers can be set at the foot of the panelling, and sometimes the panels 
 themselves (if plain) may be thus decorated. See PI. VIII., Fig. i 4. 
 
 Cut out panels in cardboard exactly the size required, and ornament them 
 with illumination, applique work, as may be preferred : to fix them in their places, 
 " spring " in thin laths of wood in front of them, and they will be as firm as 
 if they were nailed. Roses or other flowers in the zinc cones already mentioned 
 may be hung at intervals, but little in the way of " wreathage '' had better be 
 attempted if the uprights and arches are well proportioned as they stand ; they 
 will not be improved by being thickened with leaves. 
 
 5. PULPITS 
 
 Require special care, and so much depends on their form and design, that it is 
 impossible to give any very definite hints for their decoration ; narrow wreaths 
 stitched on to canvas, or fixed to wire, may be perhaps safely put round the 
 heavier mouldings. Flowers may be suspended, and the base surrounded with 
 flowers in pots. See Fig. 13, PI. IX. 
 
 6. FONTS. 
 
 Great variety may be obtained by the use of different " covers " of wire- 
 work, wreathed with foliage. If the font be plain, it is very easy to fasten bands 
 round the bowl, and to decorate the base with growing flowers. If the font 
 stand on steps, these may be well banked with moss (using waterproof paper), 
 and decked with flowers ; texts and devices being perhaps introduced formed of 
 everlastings. Three examples are given of ancient Fonts. Figs, n and 
 12, PI. IX., and Fig. 7, PI. VIII. 
 
 7. ALTARS 
 
 Should never be touched ; if it be the custom in a Church to use Frontals of 
 different colours then the covering will be sufficient decoration. Vases filled
 
 6 9 
 
 with flowers can be placed upon the ledge at the back, and ferns, flowers and 
 small shrubs placed on either side, provided always that they do not, by blocking 
 up the space, hinder the clergy in their ministrations. PI. I. shows an altar with 
 the fullest decoration advisable. 
 
 8. COMMUNION RAILS, STALLS AND LECTERNS. 
 
 These, in the opinion at least of the writer, are best unadorned, for the 
 reasons set forth in Chapter II. If any ornament is introduced it should be of 
 the slightest possible description. 
 
 These directions read as very meagre ones it must be admitted, but so 
 much, depends on the character of the building that few rules of universal 
 application are to be laid down. The writer in conclusion can only say: 
 
 " Sit modus in rebu."
 
 CHAPTER XI. 
 
 MATERIALS. 
 
 All particulars as to materials and ready-made decorations will be found 
 in the Appendix. It may be advisable, however, in this place to set down a 
 list, capable of considerable expansion, of such things as are likely to be 
 required by the amateur church decorator. To begin with evergreens. Of the 
 holly, which is by custom the principal one used, there are sixteen varieties, 
 the common one being the Ilex Aquifolium. 
 
 Holly. 
 
 Variegated Holly. 
 
 Ivy (the smaller variety). 
 
 Laurel. 
 
 Box. 
 
 Yew. 
 
 Fir (in its various varieties). 
 
 Arbor Vitse. 
 
 Portugal Laurel. 
 
 Arbutus. 
 
 Laurustinus. 
 
 Ferns. 
 
 Privet. 
 
 Myrtle. 
 
 Cypress. 
 
 Bay. 
 
 Rosemary. 
 
 Moss. 
 
 MATERIALS FOR FORMING WREATHS. 
 
 Evergreens, as previous list. 
 
 Everlasting flowers. 
 
 Imitation Holly berries. 
 
 Rope. 
 
 Stout string. 
 
 Fine twine. 
 
 Stout iron or copper wire. 
 
 Fine do. do. 
 
 Reel wire (as used by artificial 
 
 flower-makers). 
 Needles and thread. 
 Hoop iron. 
 Deal laths. 
 
 Scissors (best tied by a long tape 
 to wrist or waist when in use). 
 Pocket knife. 
 
 Pliers (for wire). 
 Hammer. 
 Nails and tacks. 
 Frame for decorated font cover. 
 Bands of perforated zinc. 
 Letters of do. do. 
 Zinc and iron clips for capitals 
 of columns. 
 
 FOR EVERGREEN OR FLOWER DEVICES. The groundwork cut out in 
 perforated zinc in addition to the foregoing. 
 
 FOR WORKED AND PAINTED DEVICES. Full-sized models of monograms, 
 crosses and devices. These are best procured cut out in cardboard, unless the 
 amateur has sufficient knowledge of drawing to set them out himself. 
 
 Cloth (in various colours). 
 Cotton-velvet do. 
 Cotton-wool. 
 Cartoon paper. 
 Coloured papers. 
 Coloured flock papers. 
 
 Gold paper. 
 
 Silver paper. 
 
 Straw tissue. 
 
 Prepared (painted) cloth. 
 
 Prepared calico. 
 
 Paints, prepared for use. 
 
 Gold leaf. 
 Gold size. 
 Paint brushes. 
 Straight rule. 
 Set square. 
 Compasses. 
 
 For large circles, a nail or pin, driven in at the point from which the 
 circle is struck, with a string of the required length (having a pencil attached), 
 revolving round it, forms a good substitute for compasses.
 
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