Читать книгу English Monastic Life - Francis Aidan Gasquet - Страница 8

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In any account of the parts of a monastic establishment the church obviously finds the first place. As St. Benedict laid down the principle that “nothing is to be preferred to the Opus Dei,” or Divine Service, so in every well-regulated religious establishment the church must of necessity be the very centre of the regular life as being, in fact no less than in word, the “House of God.”

In northern climates the church was situated, as a rule, upon the northern side of the monastic buildings. With its high and massive walls it afforded to those who lived there a good shelter from the rough north winds. As the northern cloister usually stretched along the nave wall of the church and terminated at the south transept, the buildings of the choir and presbytery and also the retro-chapels, if there were any, gave some protection from the east wind. Sometimes, of course, there were exceptions, caused by the natural lie of the ground or other reason, which did not allow of the church being placed in the ordinary English position. Canterbury itself and Chester are examples of this, the church being in each case on the southern side, where also it is found very frequently in warm and sunny climates, with the obvious intention of obtaining from its high walls some shelter from the excessive heat of the sun. Convenience, therefore, and not any very recondite symbolism, may be considered to have usually dictated the position of “God’s house.”

Christian churches, especially the great cathedral and monastic churches, were originally designed and built upon lines which had much symbolism in them; the main body of the church with its transepts was to all, of course, a representation of Christ upon the cross. To the builders of these old sanctuaries the work was one of faith and love rather than a matter of mere mercenary business. They designed and worshipped whilst they wrought. To them, says one writer, the building “was instinct with speech, a tree of life planted in paradise; sending its roots deep down into the crypt; rising with stems in pillar and shaft; branching out into boughs over the vaulting; blossoming in diaper and mural flora; breaking out into foliage, flower, and fruit, on corbel, capital, and boss.” It was all real and true to them, for it sprang out of their strong belief that in the church they had “the House of God” and “the Gate of heaven,” into which at the moment of the solemn dedication “the King of Glory” had come to take lasting possession of His home. For this reason, to those who worshipped in any such sanctuary the idea that they stood in the “courts of the Lord” as His chosen ministers was ever present in their daily service, as with the eyes of their simple faith they could almost penetrate the veil that hid His majesty from their sight. As St. Benedict taught his disciples, mediæval monks believed “without any doubt” that God was present to them “in a special manner” when they “assisted at their divine service.” “Therefore,” says the great master of the regular observance, “let us consider in what manner and with what reverence it behoveth us to be in the sight of God and of the Angels, and so let us sing in choir, that mind and voice may accord together.”

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NORWICH CATHEDRAL, WITH CLOISTERS

So far as the religious life was concerned, the most important part of the church was of course the presbytery with the High Altar and the choir. Here all, or nearly all, public services were performed. The choir frequently, if not generally, stretched beyond the transepts and took up one, if not two, bays of the nave; being enclosed and divided off from that more public part by the great screen. Other gates of ironwork, across the aisle above the presbytery and in a line with the choir screen, kept the public from the south transept. Privacy was thus secured for the monks, whilst by this arrangement the people had full access to all parts of the sacred building except the choir and the transept nearest to the monastery.

The choir was entered, when the buildings were in the normal English position, from a door in the southern wall of the church at the juncture of the northern and eastern walks of the cloister. At the western end of the same northern cloister there was generally another door into the church reserved for the more solemn processions. The first, however, was the ordinary entrance used by the monks, and passing through it they found themselves in the area reserved for them within the screens which stretched across the choir and aisle.

In the centre of the choir stood the great raised lectern or reading-desk, from which the lessons were chanted, and from which, also, the singing was directed by the cantor and his assistant. The stalls were arranged in two or more rows slightly raised one above the other. The superior and the second in command usually occupied the two stalls on each side of the main entrance furthest from the altar, the juniors being ranged nearest to the presbytery. This was the common practice except at the time of the celebration of the Sacrifice of the Holy Mass, or during such portion of the Office which preceded the Mass. On these occasions the elders took their places nearest to the altar, for the purpose of making the necessary oblations at the Holy Sacrifice. In many monastic choirs, for this reason, the abbot and prior had each two places reserved for their special use, one on either side near the altar, and the others at the entrance of the choir. Besides the great lectern of the choir there was likewise a second standing-desk for the reading of the Gospel at Matins, usually placed near to the steps of the presbytery. In some cases, apparently, this was always in its place, but more frequently it was brought into the choir for the occasion, and removed afterwards by the servers of the church.

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CANONS IN CHOIR

There were in every church, besides the High Altar, several, and frequently numerous, smaller altars. The Rites of Durham describes minutely the nine altars arranged along the eastern wall of the church and facing the shrine of St. Cuthbert.

“They,” says the author, “each had their several shrines and covers of wainscot over-head, in very decent and comely form, having likewise betwixt every altar a very fair and large partition of wainscot, all varnished over, with very fine branches and flowers and other imagery work most finely and artificially pictured and gilded, containing the several lockers or ambers for the safe keeping of the vestments and ornaments belonging to every altar; with three or four aumbries in the wall pertaining to some of the said altars.”

It would be now quite impossible to describe the rich adornments of an English mediæval monastic church. The Rites of Durham give some idea of the wealth of plate, vestments and hangings, and the art treasures, mural paintings and stained windows, with which generations of benefactors had enriched that great northern sanctuary. What we know of other monastic houses shows that Durham was not an exception in any way; but that almost any one, at any rate of the greater houses, could challenge comparison with it. A foreign traveller almost on the eve of their destruction speaks of the artistic wealth of the monastic churches of England as unrivalled by that of any other religious establishments in the whole of Europe.