DOI Kapitel:
Plate 1-XCIII
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.62036#0282
134
PLATE LIVE
BAPTISM.
Fig. 3. The Fish was the most universal symbol of Baptism amongst the early Christians, and
it was natural that so prevailing an image should be frequently expressed in their
Art, as well as in their writings. Tertullian says: “ We are born in water, like the
Fish,” and, whoever wished to be admitted to the privileges of Christianity, must enter
through the door of Baptism, by the washing in that element in which only Fishes
can live; thus the baptized came even to be called by that name, as in the ancient
Hymn of Clement of Alexandria, in which Christ is spoken of as “drawing Fish out
of the waters of sin.”
On the tombs of the Catacombs, a Fish is a common representation, and it showed that
those who were buried there were baptized Christians; in this instance, it is combined
with the Monogram, and Two Fishes are sometimes represented together, but there is
little variety in the subject. (16.)
4. The actual rite of Baptism appears but rarely in early Art; in this instance of it, which
is of an entirely symbolical character, the Water of Regeneration is streaming from a
circle enclosing the Dove, the emblem of the Holy Spirit, which is surrounded with
stars; the Bishop, with the nimbus around his head, is performing the rite, and, on
the other side, is the Sponsor; the two Trees, one withered and the other blossoming,
are symbolical of the barrenness of the Heathen faith, and the fruitfulness of the
promises of Christianity. The age of this rudely sculptured design, found at Aquileja,
is doubtful; but it probably represents the baptism of a Goth, on his conversion to
Christianity. (16.)
5. The practice of signing with the Cross, as a mark of their profession, is of great antiquity
among Christians. Here it appears on the forehead of a young baptized Christian, and
it is a rare example ; probably the only instance of such a representation. The meaning
of the inscription is not clear. It is believed to have been found on a glass vessel,
probably of the 7th or 8th century. (16.)
6. The symbol of the Fish retained its signification during the Middle Ages, and was known
even in the remote North, as it appears sculptured on the Font of the village Church of
Ringsted, in Zealand, a work of Mediaeval Art. The Three Fishes combined, probably
contain an allusion to the Trinity, besides the more obvious one to Baptism. (16.)
7. Representations of the rite of Baptism are more frequent when we come to Mediaeval Art;
an idea of its sacred character is attempted to be conveyed by the introduction of the
Three Persons of the Trinity into the subject. The Two Persons are exactly similar in
form; but the Holy Spirit is descending on the baptized person, in the shape of the
Dove. From a History of the Bible, containing subjects of the Old and New Testament
placed together ; 13th century (Brit. Mus.).
8. This illustration is from a volume of the same MS. as the former, in the Bodleian. Here
the Evil Spirit, as the image of man’s sinful nature, is being cast out in a bodily shape,
and the blessing is given from above, upon the baptized Person. The Priest and the
Sponsors form part of this scene.
PLATE LIVE
BAPTISM.
Fig. 3. The Fish was the most universal symbol of Baptism amongst the early Christians, and
it was natural that so prevailing an image should be frequently expressed in their
Art, as well as in their writings. Tertullian says: “ We are born in water, like the
Fish,” and, whoever wished to be admitted to the privileges of Christianity, must enter
through the door of Baptism, by the washing in that element in which only Fishes
can live; thus the baptized came even to be called by that name, as in the ancient
Hymn of Clement of Alexandria, in which Christ is spoken of as “drawing Fish out
of the waters of sin.”
On the tombs of the Catacombs, a Fish is a common representation, and it showed that
those who were buried there were baptized Christians; in this instance, it is combined
with the Monogram, and Two Fishes are sometimes represented together, but there is
little variety in the subject. (16.)
4. The actual rite of Baptism appears but rarely in early Art; in this instance of it, which
is of an entirely symbolical character, the Water of Regeneration is streaming from a
circle enclosing the Dove, the emblem of the Holy Spirit, which is surrounded with
stars; the Bishop, with the nimbus around his head, is performing the rite, and, on
the other side, is the Sponsor; the two Trees, one withered and the other blossoming,
are symbolical of the barrenness of the Heathen faith, and the fruitfulness of the
promises of Christianity. The age of this rudely sculptured design, found at Aquileja,
is doubtful; but it probably represents the baptism of a Goth, on his conversion to
Christianity. (16.)
5. The practice of signing with the Cross, as a mark of their profession, is of great antiquity
among Christians. Here it appears on the forehead of a young baptized Christian, and
it is a rare example ; probably the only instance of such a representation. The meaning
of the inscription is not clear. It is believed to have been found on a glass vessel,
probably of the 7th or 8th century. (16.)
6. The symbol of the Fish retained its signification during the Middle Ages, and was known
even in the remote North, as it appears sculptured on the Font of the village Church of
Ringsted, in Zealand, a work of Mediaeval Art. The Three Fishes combined, probably
contain an allusion to the Trinity, besides the more obvious one to Baptism. (16.)
7. Representations of the rite of Baptism are more frequent when we come to Mediaeval Art;
an idea of its sacred character is attempted to be conveyed by the introduction of the
Three Persons of the Trinity into the subject. The Two Persons are exactly similar in
form; but the Holy Spirit is descending on the baptized person, in the shape of the
Dove. From a History of the Bible, containing subjects of the Old and New Testament
placed together ; 13th century (Brit. Mus.).
8. This illustration is from a volume of the same MS. as the former, in the Bodleian. Here
the Evil Spirit, as the image of man’s sinful nature, is being cast out in a bodily shape,
and the blessing is given from above, upon the baptized Person. The Priest and the
Sponsors form part of this scene.