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CHURCH

and robust decision.” Though of unimpressive stature, he had a strong magnetic influence over all brought into contact with him, and though of a naturally gentle temperament, he never hesitated to express censure if he was convinced it was deserved. In the pulpit the voice of the dean was deliberately monotonous, and he employed no adventitious gesture. He may be described as a High Churchman, but of an essentially rational type, and with an enthusiasm for religious liberty that made it impossible for him to sympathize with any unbalanced or inconsiderate demands for deference to authority. He said of the Church of England that there was “no more glorious church in Christendom than this inconsistent English Church.” The dean often meditated resigning his office, though his reputation as an ecclesiastical statesman stood so high that he was regarded in 1882 as a possible successor to Archbishop Tait. But his health and mode of life made it out of the question. In 1888 his only son died; his own health declined, and he appeared for the last time in public at the funeral of Canon Liddon in 1890, dying on 9th December 1890, at Dover. He was buried at Whatley.

The dean’s chief published works are a Life of St Anselm (1870), the lives of Spenser (1879) and Bacon (1884) in Macmillan’s “Men of Letters” series, an Essay on Dante (1878), The Oxford Movement (1891), together with many other volumes of essays and sermons. A collection of his journalistic articles was published in 1897 as Occasional Papers. In these writings he exhibits a great grasp of principles, an accurate mastery of detail, and the same fusion of intelligent sympathy and dispassionate judgment that appeared in his handling of business. His style is lucid, and has the charm of austerity. He stated that he had never studied style per se, but that he had acquired it by the exercise of translation from classical languages; that he watched against the temptation of using unreal and fine words; that he employed care in his choice of verbs rather than in his use of adjectives; and that he fought against self-indulgence in writing just as he did in daily life. His sermons have the same quality of self-restraint. His private letters are fresh and simple, and contain many unaffected epigrams; in writing of religious subjects he resolutely avoided dogmatism without ever sacrificing precision. The dean was a man of genius, whose moral stainlessness and instinctive fire were indicated rather than revealed by his writings.

See Life and Letters of Dean Church, by his daughter, M. C. Church (1895); memoir by H. C. Beeching in Dict. Nat. Biog.; and D. C. Lathbury, Dean Church (1907).  (A. C. Be.) 


CHURCH (according to most authorities derived from the Gr. κυριακὸν [δῶμα], “the Lord’s [house],” and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Bulg. cerkova, Czech cirkev, Finn, kirkko, &c.), a word originally applied to the building used for Christian worship, and subsequently extended to the Christian community (ecclesia) itself. Similarly the Greek word ecclesia (ἐκκλησία), “assembly,” was very early transferred from the community to the building, and is used in both senses, especially in the modern Romance and Celtic languages (e.g. Fr. église, Welsh eglwys, &c.).

(1) Church Architecture.—From the strictly architectural point of view the subject of church building, including the development of the various styles and the essential features of the construction and arrangement of churches, is dealt with elsewhere (see Architecture; Abbey; Basilica). It is, however, impossible to understand the development of church architecture without realizing its intimate connexion with that of the doctrine, organization and ritual of the Christian Church as a religious community, and a brief sketch of this connexion may be given here by way of introduction to the more technical treatment of the subject. In general it may be said of church architecture, more truly than of any other, that artistically it is “frozen music.” It is true that at all times churches have been put to secular uses; in periods of unrest, as among the Nestorian Christians now, they were sometimes built to serve at need as fortresses; their towers were used for beacons, their naves for meetings on secular affairs. But as a rule, and especially in the great periods of church architecture, their builders were untrammelled by any utilitarian considerations; they built for the glory of God, for their own glory perhaps, in honour of the saints; and their work, where it survives, is (as it were) a petrification of their beliefs and ideals. This is, of course, more true of the middle ages than of the times that preceded and followed them; the Church under the Roman empire hardly as yet realized the possibilities of “sermons in stones,” and took over, with little change, the model of the secular and religious buildings of pagan Rome; the Renaissance, essentially a neo-pagan movement, introduced disturbing factors from outside, and, though developing a style very characteristic of the age that produced it, started that archaeological movement which has tended in modern times to substitute mere imitations of old models for any attempt to express in church architecture the religious spirit of the age.

The earliest type of Christian Church, out of which the others developed, was the basilica. The Church, emerging in the 4th century into imperial favour, and established as part of the organization of the Roman empire, simply adopted that type of secular official building which she found convenient for her purposes. The clergy, now Roman officials, vested in the robes of the civil dignitaries (see Vestments), took their seats in the apse of the basilica where the magistrates were wont to sit, in front of them the holy table, facing the congregation. The cancelli, the lattice or bar, which in the civil tribunal had divided the court from the litigants and the public, now served to separate clergy and laity. This arrangement still survives in some of the ancient churches of Rome; it has been revived in many Protestant places of worship. It symbolized principally an official distinction; but with the theocratizing of the empire in the East and its decay in the West the accentuation of the mystic powers of the clergy led to a more complete separation from the laity, a tendency which left its mark on the arrangements of the churches. In the East the cancelli, under the influence possibly of the ritual of the Jewish temple, developed into the iconostasis, the screen of holy pictures, behind the closed doors of which the supreme act of the eucharistic mystery is hidden from the lay people. In the West the high altar was moved to the east end (the presbyterium) with a space before it for the assisting deacons andsubdeacons (the chancel proper) railed off as a spot peculiarly holy (now usually called the sanctuary); between this and the nave, where the laity were, was the choir, with seats for the clergy on either side. The whole of this space (sanctuary and choir) came to be known as the “chancel.” This was divided from the nave, sometimes by an arch forming part of the structure of the building, sometimes by a screen, or by steps, sometimes by all three (see Chancel). The division of churches into chancel and nave, the outcome of the sacramental and sacerdotal spirit of the Catholic Church, may be taken as generally typical of church construction in the medieval West, though there were exceptions, e.g. the round churches of the Templars. There were, however, further changes, the result partly of doctrinal developments, partly of that passion for symbolism which by the 13th century had completed the evolution of the Catholic ritual. Transepts were added, to give to the ground-plan of the building the figure of the cross. The insistence on the unique efficacy of the sacrifice of the altar led to the multiplication of masses, and so of altars, which were placed in the transepts or aisles or in chapels, dedicated to the saints whose relics they enshrined. The chief of these subsidiary chapels, that of the Blessed Virgin (or Lady chapel), behind the high altar, was often of large size. Finally, for the convenience of processions, the nave and chancel aisles were carried round behind the high altar as ambulatories.

The Romanesque churches, still reminiscent of antique models, had preserved all the simplicity of the ancient basilicas with much more than their grandeur; but the taste for religious symbolism which culminated in the 13th century, and the imaginative genius of the northern peoples, transformed them into the marvellous dreams in stone of the “Gothic” period. Churches now became, in form and decoration, epitomes of the Christian scheme of salvation as the middle ages understood it.