The Symbolism of Churches and Church Ornaments A Translation of the First Book of the Rationale Divinorum Officiorum — A Closer Reading

The Translators' Framing

The preface reveals that Durandus's work was written before Christian architecture reached its full glory, leaving later arrangements untouched. The translators address readers who may doubt things once taken for granted, and they aim to prove that Catholic architecture must be symbolical. This editorial stance shapes how a first-time reader approaches the text: the notes and essay are not optional but integral to understanding the medieval assumptions. The translators also mention adding passages from other writers like Martene and Beleth, indicating that the edition is a composite work.

The Symbolic System for Evangelists

In the excerpts, Durandus explains how the four living creatures represent the Evangelists: Matthew as a man, Mark as a lion, Luke as an ox, and John as an eagle. He provides specific reasons—Mark's lion roars in the desert because his Gospel describes the Resurrection, and the lion rouses its whelps on the third day. The translators add a footnote citing Innocent III and an example from Oxted church. This passage shows Durandus's method: each symbol is tied to scriptural or natural attributes, and the translators supplement with contemporary examples.

Apostles, Patriarchs, and Depiction Rules

Durandus describes how apostles are painted with long hair as Nazarenes, or as twelve sheep, and explains the significance of varying numbers. He then notes that patriarchs and prophets are painted with wheels in their hands, symbolizing imperfect knowledge before Christ, while apostles hold books or wheels. The text includes detailed physical descriptions of Bartholomew and Andrew in footnotes, showing a concern for precise iconography. This section illustrates the work's encyclopedic nature, blending theology with practical artistic guidelines.

Reading Across the Excerpts

The excerpts move from general principles to specific examples, but the text is incomplete. A first reader should note that Durandus often references later sections (e.g., 'shall be said hereafter'), indicating a structured but non-linear organization. The translators' footnotes provide cross-references and additional sources, which help fill gaps. The work is best read as a reference to be consulted on particular symbols rather than a continuous narrative. The detailed descriptions of how saints should be painted suggest a practical manual for artists and clergy.

This edition of Durandus is best approached as a layered text: the medieval original, the translators' commentary, and the modern reader's own context. Pay attention to the footnotes, which often clarify obscure references or add contemporary examples. The work rewards selective reading—dip into sections on specific symbols or figures rather than reading straight through. The translators' preface and essay provide essential orientation for understanding the symbolic system.