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The Cross in Ritual, Architecture and Art Part 6

The Cross in Ritual, Architecture and Art - BestLightNovel.com

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But, indeed, the custom of selecting some natural object to denote the idea of the family was well-nigh universal. The inhabitants of the East Indies are as familiar with the spirit of totemism as their brethren of the west. In Africa, the Hottentot, the Bechuana, and others distinguish their tribes by the figure of some animal; in far off China the flowers serve the same purpose, and in Australia the same practice obtains under the name of _Kobong_. Not to multiply examples, we may refer only to the ancient Greek tribes as affording another instance, and suggest the parallel supplied by the crests used in mediaeval and modern heraldry.

The adoption of national symbols was but the inevitable extension of these practices, consequent on the nation, and not the tribe, coming to be recognized as the political unit; and thus we get the Roman Eagle, the White Horse of the Saxons, the Black Raven of the Danes, and the countless national emblems of more modern times.

A closer a.n.a.logy to the use of the cross meets us when we recall how, in all ages, the G.o.ds have been suggested to their wors.h.i.+ppers by signs and symbols. The thunderbolts of Jove, the lyre of Apollo, the caduceus of Mercury, the hammer of Thor, are all obvious examples.

It may be true that many of these took their rise at a time when letters were almost unknown save to the learned few, and thus the emblem appealed to those to whom written words were meaningless. Yet as learning spreads to the ma.s.ses of the people, the popularity of significant tokens does not decrease, but man gives a natural welcome to that which, by a few strokes or a simple outline, sums up for him the expression of a great truth.

And what figure is so expressive of the Christian faith as the hallowed symbol of the Cross? To the ignorant as clearly as the learned it tells of the sufferings which purchased our redemption, of the life of sorrow and death of agony voluntarily undergone by the G.o.d-Man. In the light of that Redeemer's own teaching, it speaks of the life of self-abnegation, the daily cross-bearing, to which His followers are pledged; and to the faithful it foretells also that flas.h.i.+ng of the "Sign of the Son of Man"

across the heavens which shall announce the end of earthly time. The Christians' faith, the Christians' life, the Christians' hope, all are summed up and symbolized in that one most sacred sign--the Holy Cross.

THE END

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The Cross in Ritual, Architecture and Art Part 6 summary

You're reading The Cross in Ritual, Architecture and Art. This manga has been translated by Updating. Author(s): Geo. S. Tyack. Already has 778 views.

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