Chapter 2
THE THREE CHAIRS IN THE VATICAN BASILICA.
N the medallions reproduced in our first article, we saw the symbol of Christ gradually diminish and then disappear, and we saw also the so-called “princes of the apostles"—St. Peter and St. Paul become the supports of the more than life-size figure of the local saint, St. Laurence! By the process which led to these changes, the Christian idea was slowly eclipsed; and not only was Christ caused to disappear, but even the idea of giving St. Peter and St. Paul chief honor gave place to that of honoring the local saint! What a witness we have in these things to the steady decline from early truth which was made in Rome—a downward course, which has never ceased and which hurries on to this present day! But there is yet further darkness to be noted in the ideas and symbols of the early centuries. As time proceeded, the figure of one local saint was substituted for that of another, the substituted local saint being a woman—St. Agnes; and, though it may seem incredible, our Lord Himself is represented as one of two who support the woman who, in His stead, has become the object of worship. Thus, our Lord Jesus Christ is lost as the object of worship, and He is made a mere instrument for upholding woman-worship. And this is now exactly that principle which prevails in Rome, as anyone who may read the Glories of Mary" can easily see.
But let us turn back to primitive ideas, ascending by the steps with which art furnishes us, and which time has left for us to study, and trace the ancient conception of the chair as it obtained among Roman Christians. The engravings we offer to the reader will lift one, at least, of the many veils that obscure the original truth. In this article we shall be able to work our way back to the beginning of the fourth century, when Constantine came upon the scene.
It may be well to note here that an enormous change took place in Christian symbolism at this time. The Church, whose eyes seem to have grown dim in watching for her coming Lord, was now so weak that she appears to have taken the downfall of paganism for the arrival of the kingdom of heaven. At first, the new empire under Constantine seemed to represent realities above; but, instead of this, experience soon proved that the imaginary heaven of the period was simply the reflection of the imperial court. Constantine was looked upon as God's vicegerent on earth; the Cæsars, his sons, in sharing the empire, were "the saints of the Most High, who were now taking the kingdom"; and, when the emperor finished "The Church of the Saviour" at Jerusalem, that act was considered the fulfillment of Rev. 21:22And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. (Revelation 21:2). Such, at least, was the idea of Eusebius, the historian—so corrupt, so degenerate from Bible truth had the popular idea of Christianity become.
Many and very splendid churches were built by order of Constantine, and the mosaics which filled the ceilings of the apses of those churches are often the best expression of the great change which had taken place in the Christian conceptions of his era. In the upper part of the apse, representing heaven, the Savior was represented sitting on an imperial throne, with angels standing near. Then some symbol of the Father was placed above Him, and a dove, as emblem of the Holy Spirit, was represented below Him. From the dove descended strong rays of light upon a lamb with a nimbus about it, and the lamb was portrayed standing upon a rock, from which issued four streams of pure water, at which sheep or deer were seen slaking their thirst. In these symbols there is much that is beautiful and true, but there are also in them the fast developing germs of later evils.
The lamb, which became the most popular symbol of the fifth century, as was then represented, is no longer the lamb of the catacombs; but still, whether the pure water that flows forth from near the lamb be that of the River Jordan, or that of the four rivers of Paradise, or that of the seven rills issuing from the block of stone on which the lamb is seen, the flowing water always has its origin in the lamb—the symbol of Christ. Thus all life, all inspiration, all authority, are symbolized as proceeding from the lamb, and these symbols remind us in their deeper meanings of the not yet distant catacombs.
Soon, however, the darkness deepened. The introduction of the worship of the Virgin and of patron saints took place. Also relics were honored, which expressed no single idea of art or faith, and these relics were supposed to be a permanent source of miracle. According to some, the mummified corpse would turn in its silver coffin, open its eyes and stare at the peeping devotee, lift a finger, grow a beard, sweat blood or change color if vexed, or, if pleased, breathe forth heavenly odors. The dust of the shrine, the oil from the lamps, the shadow of the image, were all miraculous. The article that touched the corruption received a blessing, which blessing, it was said, was indicated by increase of weight. The passion for relics grew till it knew no bounds; a nail, a bone, a feather, a single hair, a tint of blood, scratches in a stone, dregs in a jar, air in a bottle, all were supposed to retain the potent virtue of miracle, and all in some measure usurped the place of Scripture. Instead of the baskets filled with Scriptures, so frequently met with in the catacombs, the sacristies were full of cases pigeon-holed for a selection of relics.
The accompanying reproductions will enable our thoughts to return to the earlier state of mind among Christians.
The fresco from which our first illustration is taken represents the Savior as a young man in the act of teaching, sitting between two baskets full of Scriptures. It is to be seen in the catacombs of St. Agnes, and belongs to the period when there was no thought of giving, or even of possessing, a portrait of Christ, and the fresco is meant to represent the office, or the teacher. Here the seat can hardly be seen. And for this reason —the real seat is the doctrine, the teaching of Christ. The proportions of this chair are therefore moral, intellectual, spiritual, divine, which no worm consumes, no corruption destroys. This Teacher sitteth in the heavens. If the first place is given to the posture, and the living teaching shown by the pleading expression of the hands, the baskets of Scriptures at Christ's feet, with no man near, are the necessary accompaniment, and complete the idea. This fresco is in the center of the ceiling of one of the chambers of the catacomb, and occupies the place usually held by the figure of the Good Shepherd bearing the lamb on His shoulders. The illustration shows belief in the celestial nature and universal authority of the Word of God, which liveth and abideth forever, and which is the central force in heaven as it is on earth.
The second illustration is copied from a fresco from the Balbina catacomb of St. Calixtus. Our Lord is represented sitting on a raised seat, which, like the one just referred to, has no hack. With Him there are four persons without halos, while He has a large nimbus. The monogram of Christ is on either side of the figures. Before Him is a basket of Scriptures, and in His left hand a codex, which seems to be that of the whole Bible. His right is stretched out in the attitude of the teacher. The proportions of the codex are those of the celebrated "Codex ' Vatic anus," which was made about the time to which this picture evidently belongs. Thus we see that in this period of the Church's history the whole of Scripture was before the Churches. Further we note that the painter of this representation of our Savior knew nothing of the conventional portraits which were a later creation, and were in after times palmed off as the work of St. Luke. Illustration No. 3 is also from the catacombs of St. Agnes, Rome. In it the Savior is represented between two persons, who probably are intended to represent the two apostles. Notice that the twelve are reduced to two, and that both of these have the nimbus about their heads, which indicates that the picture belongs to the latter part of the fourth century. The nimbus or halo round the heads of the two attendants on the Savior, indicates the loss of pre-eminence which the picture numbered three gives to Christ. But the Savior Himself is in the act of teaching. In His left hand He holds a codex, and on either side is a basket full of scrolls, or copies of detached books of the New Testament. Note here the position given to Christ the Head of the Church. He is the Teacher, and He teaches from the Word.
The mosaic represented in engraving No. 4 is from the Basilica of Santa Maria Maggiore, Rome. It was made in the beginning of the fifth century under Sixtus III.
A very considerable progress in error is stamped upon this work. The apostles Peter and Paul, each with a book in the left hand, point with the right to the throne, which is very richly decorated with precious stones. The back of the throne is in the form of a cross. At the extremity of each arm is carved the head of an apostle, and between them, in the throne itself, is a crown and a pallium. Christ is conspicuously absent, and a cross upon the throne is offered to view instead.
The crown and pallium seem to belong to the Savior, but in reality the Scripture has been removed, and history shows us how that the Bishop of Rome ascended and seated himself in the throne, put the crown upon his own head, and dispensed the pallium to whom he desired,. So that the empty throne and sign of the cross made way for the Pope to usurp Christ's place in His Church.
It will be observed that the apostles Paul and Peter are represented, the one without the sword, and the other without the keys! These things were added later on.
The rest of this article will be found in our next number.