R First, there is the simple fact recorded in the Mosaic account itself, that there existed at that time, and had done previously, various religious systems, the rooting out of which was an important function of the liberated Hebrews. The only reply to this is that, by a slight shift of ground, the mythologies were corruptions of the patriarchal religion, not the Mosaic system. Yet paganism surrounded the patriarchs. The second point is that most of the mythologies had crystallized into taking the sun as the main symbol of worship, and into taking the equinoxes and other points of the constellation path as other symbols and reminders of periodic The third point is that in most of the mythologies there is the distinct mention of a Trinity; in the Mosaic system, the system of the Old Testament, none. With the question as to whether the New Testament supports the notion of a Trinity, we need not concern ourselves here; it is enough that it has been adopted as an item of the Christian belief. The mythological Trinities are vague and, of course, difficult or impossible to understand. Most of them appear to be attempts of great minds of archaic times to reconcile the manifest contradictions ever observable in the universe. This is done in various ways. Some omit one consideration, some another; but they generally agree that to have a three-fold character in one deity is necessary in explaining the phenomenon of existence. Some of the Trinities may be recited.
The Egyptians had other Trinities than the above, each chief city having its own form; in these, however, the third personality appears to be supposed to proceed from the other two, which scarcely seems to have been intended in the instances already given. Some of the city Trinities were as follow:—
So that it is no coincidence that both Hercules and Horus are met in Gothic carvings as deliverers from dragons.
Another Egyptian triad, styled “Trimorphous God!” was:— Bait.Athor. Akori. Another:— Telephorus.Esculapius. Salus.
The Platonic and other philosophic Trinities need not detain us; it has been asserted that by their means the doctrine of the pagan Trinity was grafted on to Christianity. Right down through the ages the number three has always been regarded as of mystic force. Wherever perfection or efficiency was sought its means were tripled; thus Jove’s thunderbolt had three forks of lightning, Neptune’s lance was a trident, and Pluto’s dog had three heads. The Graces, the Fates, and the Furies were each three. The trefoil was held sacred by the Greeks as well as other triad forms. In the East three was almost equally regarded. Three stars are frequently met upon Asiatic seals. The ScarabÆus was esteemed as having thirty joints. Heraldry is permeated with three-fold repetitions, a proportion of at least one-third of the generality of heraldic coats having a trinity of one sort or another. In all probability the stars and bars of America rose from the coat-armour of an English family in which the stars were three, the bars three. St. Nicholas had as his attributes three purses, three bulls of gold, three children. Sacred marks were three dots, sometimes alone, sometimes in a triangle, sometimes in a double triangle; three balls attached, making a trefoil; three bones in a triangle crossing at the corners; a fleur-de-lys in various designs of three conjoined; three lines crossed by three lines; and many other forms. God, the symbolists said, was symbolized by a hexagon, whose sides were Glory, Power, Majesty, Wisdom, Blessing, and Honor. The three steps to heaven were Oratio, Amor, Imitatio. The three steps to the altar, the three spires of the cathedral, the three lancets of an Early English window, were all supposed to refer to the Trinity. Having seen that the idea of the Trinity is a part of most of the ancient religious systems, it remains to point to one or two instances where, in common with other ideas from that source, the Trinity has a place among church grotesques. Another instance of a three-fold head similar to the Faversham carving is at Cartmel. In carvings three will often be found to be a favourite number without a direct reference to the Trinity. The form of the misericorde is almost invariably a three-part design, and, being purely arbitrary, its universal adoption is one of the evidences of the organization of the craft gild. As with the misericorde, so with its subjects. At Exeter we have seen (page 4) the tail of the harpy made into a trefoil ornament, while she grasps a trefoil-headed rod (just as among The three mowers do not make a pleasing carving, owing to the repetition and want of curve. Other instances of triplication in Gothic design might be given, particularly in the choice of floral forms in which nature has set the pattern. This section, however, is chiefly important as a convenient means of incorporating a record of something further of the fundamental beliefs of the world’s youth, connected with and extending the question of the remote origin of the ideas at the root of so many grotesques in church art. |