Symbolism in the functional approach to worship with emphasis on color

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SYMBOLISM IN THE FUNCTIONAL APPROACH TO WORSHIP WITH EMPHASIS ON COLOR

A Thesis Presented to the Faculty of the School of' Religion The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Theology

.

by

Mary Eleanore Hollowell June 1950 ' j

UMI Number: EP65194

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T h is thesis, w ritte n by ........ M R J E L E A N O R under the direction

..........

o/.her... F a c u lt y Committee,

a n d a p p r o v e d by a l l its m e m b e r s , has been presented to and accepted by the F a c ul ty of the School of Re lig io n in p a r t ia l fu lfi llm e nt of the requirements f o r the degree of

MASTER OF THEOLOGY F j ^CV C _a_ u Dean

Faculty Committee

TABLE OF CONTENTS CHAFTER I.

FACE

THE PROBLEM AND DEFINITIONS OF TERMS

USED . .

The p r o b l e m ........................... Statement of the problem

1

................

The Importance of the s t u d y .......

1

2

Definitions of terms used • • • • • • • • •

4

W o r s h i p .................. • .........

4

Worship centers • • • • ............. • • •

4

Psychological .............................

4

Symbols

................ • .........

5

Symbolism • • • .............

5

C o l o r ......... . ....................

5

World c o m m u n i t y ....................

5

Education . . . . . . . . II.

1

• •

THE HISTORICAL TREATMENT OF WORSHIP, a ND

SYMBOLS,

COLORS IN THE C H U R C H ...........

Historical worship

6

....................

8 . .

8

Primitive types of worship

. . . . . . .

8

Hebrew worship

.............

9

Primitive Christian worship .............

10

The r e f o r m a t i o n ........................ ..

12

The Church of England • • • • • • • • • •

12

Puritans

13

• • • • • •

...............................

iii CHAPTER

PAGE Methodist .........

• • • • • • • • • •

13

The Society of F r i e n d s ................

14

The U n i t a r i a n s .........................

14

Summary • • • • • • • • • • • • • • • •

15

History of s y m b o l i s m ....................

15

I n t r o d u c t i o n .................

••15

Early s y m b o l s ...........................

IV

The C r o s s ........................

35

The structural symbols in architecture

40

Symbols in ritual and dress

42

. . • • • •

The reformation and s y m b o l i s m .........

45

Candles

...........................

45

Historical use of c o l o r ..................

48

The pre-Christian development of color Early Christian and Byzantine colors

III.

48 .

50

Gothic colors • • • • ..................

50

The Church and art in the Rennaissance

53

The Rennaissance colors • • • • • • • •

53

Liturgical colors

......................

54

S u m m a r y .................................

55

MODERN COLORS AND SYMBOLS AND THEIR COMPARATIVE VALUES IN A FUNCTIONAL

APPROACH TO WORSHIP

Comparative colors Color in the modern

• • • • • age

. . . . . . . .

56 58 58

iv CHAPTER

PAGE Modern color ...............................

58

Modern color symbolism ....................

61

Natural colors

62

.................

Psycho-physical and psychological colors Recent studies in color Comparative symbols

.

•

.............

63 69

.................... 72

The modern use of the cross

• • • • • • •

74

Some modern uses of s y m b o l s ................ 75 Modern liturgical year • • • • • • • • • •

77

Stained glass in the modern e r a ............77 S u m m a r y ...................... IV.

78

A NEW ORIENTATION FOR COLOR AND SYMBOLISM IN A FUNCTIONAL APPROACH TO WORSHIP .............

79

Introduction • • • • • • • • •

79

.............

Effects of color and form in a functional approach to worship

• • • • • • • • • •

79

I n t r o d u c t i o n ...........

80

Values to be obtained for the individuals

•

Desired effect on the worshipper .........

80 80

Color and symbols are aids to creative worship

• • • • • • • • • • •

.........

84

Symbolism should create moods of lasting i m p r e s s i o n s ...............

86

V

CHAPTER

PAGE produce a sense of well-being in the life of the individual • • • • • • • • • • • Probable unknown reactions

86

. . .........

87

Values to be attained from worship centers for the functional educational process

•

88

The opportunity to center or focalize thought

V.

.............

• • • • • • • • •

88

The importance of setting the stage . . .

91

The total effect attainable

92

.............

MATERIALS AND METHODS EMPLOYED IN BUILDING WORSHIP CENTERS TO MEET FUNCTIONAL NEEDS

.

...........

Basic materials

95

Methods used to combine symbols and colors Summary and Conclusion VI.

95

97

• • • • • • • • • •

109

THE GROUP PROCESS AT WORK APPLYING THE PRINCIPLES OF THE NEW ORIENTATION FOR RELIGIOUS SYMBOLISM IN WORSHIP The group evaluates home program

110

• . . . .

Ill

Commission purposes, plans and executes # .

112

Commission evaluates

114

Continues the process

. ......................

Counselor remains resource VII.

...........

• • • • • • • •

114 115

RELATIVE VALUES OF THIS NEW ORIENTATION FOR RELIGIOUS SYMBOLISM IN WORSHIP IN RELATION TO CHURCH IN GENERAL AND TO WORLD COMMUNITY

116

v1

lurch in g e n e r a l .......................

116

nihe educational v a l u e ................

116

Invites universal understanding . . . .

118

olor and symbolism and their v e 1a ti.on s1lip to World nommunity

. . . . * * * * * * • * • * * •

’V■i”L.*i d * * *

1.:X

fi -1 'iX LJ jL

*.

»

•

•

«

*

•

*

•

• * . « •

11Q "I O■O rg . L^ X^'O

vii LIST OF FIGURES FIGURE

PAGE

1*

Common

S y m b o l s .................................... 20

2.

Common

Symbols

Continued

.....................

21

3.

Common

Symbols

Continued

.....................

23

4.

Common

Symbols

Continued

.....................

24

5,

Common

Symbols

Continued

.....................

25

6.

Common Monograms and E m b l e m s ........................ 26

7,

Common Monograms and Emblems Continued

............

28

8,

Common

Monograms C o n t i n u e d .......................29

9,

Common

Monograms Continued

10.

Common

Symbols

....................

30

of the Four E v a n g e l i s t ........... 31

11.

Shields of the A p o s t l e s ............................... 33

12.

Shields of the Apostles C o n t i n u e s .................... 34

13. Common Crosses

.........................

. . . . . .

......................

37

14.

Common

Crosses

Continued

38

15.

Common

Crosses

and Church Floor P l a n ........... 49

16.

Kodacolor p rints......................................... 76

17.

Kodacolor p rints.........................................90

18.

Kodacolor p rints........................................102

19.

Kodacolor p r i nt s....................................... 103

20.

Kodacolor Prints........................................106

21.

Kodacolor pr in ts........................................107

22.

Kodacolor p r in ts ........................................108

CHAPTER I THE PROBLEM AND DEFINITIONS OF TERMS USED The greatest barrier to the modern psycho-dynamic use of symbolism in worship In the Protestant Churches is the lack of knowledge and understanding of the people concerning the basic meaning and origin of the use of symbols and colors in worship.

Due to this fundamental lack of knowledge and

understanding there is controversy as to the value of worship centers used in educational classrooms and In small unadorned chapels of the modern non-liturgical church.

Little or

nothing has been done with the modern psycho-dynamic use of colors and symbols with respect to their relevant value in worship. I. THE PROBLEM Statement of the problem.

It was the purpose of this

study (1) to briefly explore the historical use of symbols and colors in worship so that a comparison between them and the modern psycho-dynamic use of color and symbol in worship could be made;

(2) to discover the values of a new orien­

tation for colors and symbolism In a functional approach to worship, citing examples drawn from a series of worship centers that were especially developed for the School of Religion Chapel Services during the 1949-1950 School Year;

(2) to discuss the materials and methods employed in building worship centers and their possible use in the educational process;

(4) to show how this new orientation could be em­

ployed in the educational process;

(5) to discuss the

possible use of colors and symbols for worship in the World Church and World Community;

(6) to point out the values of

the worship centers used, as determined through a survey of those who attended the Chapel services. The importance of the study.

Perhaps the most impor­

tant factor underlying the controversy about the value of worship centers is the lack of knowledge of the difference between the symbolism of the Catholic Church, which is a highly sacramental type of symbolism that incorporates ideas which are entirely foreign to the Protestant mind.

Some of

these sacramental symbols of the Catholic Church suggest a form of idolatry to the Protestant, who has been reared to think that even a cross on a communion table is wrong.

In

contrast the modern liberal Protestant believes that there is a kind of symbolism which is not idolatry, but which more nearly represents the original use of symbols by the early Christians when they used symbols to indicate an idea or tell a story.

One of the primary functions of worship is to focus

attention on God and the modern liberal, believes that proper symbols used in a worship center, or on an altar will aid in drawing the attention of the worshipper from the trials of

the outside world to an idea which would enable him to begin to focus his attention toward God.

Worship centers employing

symbols in this manner would be termed functional in the educational process, and it is important to determine how functional they would be in the educational department. \ The basic

color symbolism of the modern age is the

same as it has always been, but modern science has found that m a n 1s reaction to color is very definite and that certain colors are challenging and exciting, while others are sub­ duing and calming.

Science has found, also, that it is quite

possible to change undesirable attitudes into desirable ones through the scientific use of c o l o r . I t tant to determine,

is therefore impor­

if possible, if the use of color in

worship centers is valuable in the educational process. In order to make the historical significance of symbolism and color more vivid the Chapter on the Historical Treatment of Worship, Symbols, and Color in the Church will include colored illustrations of the most frequently used symbols.

The later Chapters will include Kodacolor Prints

of the worship center®

used in the Chapel Series as a part

of the experimental work done for this study.

1 Louis Cheskin, Colors--What They Can Do For You (New York: Liveright Publishing Corporation, 194877 pp. 67-94.

4 II. W o r sh ip . Psychology.

DEFINITIONS OF TERMS USED Worship is Interpreted In terms of Dynamic

Dynamic worship is that kind of worship that

does something to, or acts upon the Individual,

and in turn

causes the individual to react In a definite pattern, or series of patterns.

Dynamic worship is concerned with the

Interplay between the powers, or forces within, and the powers, or forces without, which awaken the individual to a higher sense of worth, and cause him to use his powers for the betterment of himself and the world.

In no sense is

worship defining the object of worship,, but rather defining the act of worship itself and what it does.

It is the act

which brings '’inter-communication1* between the worshipper, whether It ends In subjectivity, objectivity, or prayer. Worship centers. Worship centers ar focal areas of emphasis used in worship as an aid to develop a genuine worship experience.

They employ colors and forms or symbols

to assist in conveying an idea which may in turn aid in creating a valid worship experience. Psychological.

Psychological is used when the study

of reactions between the Individual and his environment in terms of dynamic worship is concerned.

5 Symbols.

Symbols are definite forms, or shapes which

in themselves tell a story, or convey and idea, or thought pattern.

These may be inert, or active depending on their

nature and usefulness in conveying and idea, or thought pattern,

or a story.

Symbolism.

Symbolism is a system of stories, or ideas,

or thought patterns conveyed by means of shapes and forms. Color.

Color is defined as everything an individual

sees, whether it be black, or white, red, yellow, or blue, or a combination of these to form tints, tones, shades. Color is a visual and physical experience,

or a feeling tone

inside a person which creates a response.

Color may be used

in the additive, or positive sense when applied to its use as light.

It may also be used in the subtractive, or

negative sense when applied to its use with pigment.

World Community.

2

World Community is thought of as

that on going process which seeks to relate all peoples every­ where in common experience, not necessarily of one origin. It is concerned not with absolutism of any one idea, or faith, but with the harmony of all channels of faith.

Mixing

It is

2 J. H. Bustanoby, Principles of Color and Color (New York: McGraw-Hill Book Company, Inc.), pp. 96-100

not concerned with where a man begins, but with the attitudes and receptiveness of the individual toward new ideas and the eventual outcome.

Community in the sense that the individual

develops the capacity for fellowship with others.

In working

together the fellowship is broadened.3 Education.

Education is a process of teaching, or

instructing by which individuals learn to control and use natural powers.

In this study education is thought of as

being a functional process, by which the individual is led into awareness of his environment and himself and his rela­ tionship to a creative personality outside himself and his immediate environment.

3 Ployd H. Ross Addressed to Christians: Isolationism v s . World Community (New York: Harper & Brothers Publishers., 1950), pp. 139-144.

CHAPTER II THE HISTORICAL TREATMENT OF WORSHIP, SYMBOLS, AND COLORS IN THE CHURCH This chapter is to be divided into three parts:

(1)

the historical background of worship through the two main divisions of the Church, Protestant and Catholic; history of symbolism;

(2) the

(3) the historical use of color and

color symbolism. I.

HISTORICAL WORSHIP

Since the beginning of time man has conducted some type of ceremony, or ritual designed to attract the attention of the God, or gods whom he believed to be the all powerful ruler of his world.

These early types of ceremony and ritual

were the beginnings of later ones which the modern church refers to as worship.

Man has also used certain forms, or

objects called symbols and colors to augument his ceremonies and rituals.

These are the primitive forerunners of the

symbols and colors used in modern religious worship.

It is

the purpose of this section to summarize the early uses of ritual and give a short historical review of the various types of Christian worship, both liturgical and non-liturgical. Primitive types of wors h ip .

The early records show

that man went through three different stages of belief:

(1)

the Animatic, which said nothing is supernatural, but that everything moves and has will, as does man from within itself (2) the Animistic stage, which said there is a supernatural power which makes things move and have will;

(3) the Poly­

theistic stage, which said there are many gods and goddesses. While man was passing through these stages certain institu­ tions came into being. Ancestor-worship.

These w e n Totemism, Taboo, and

In Totemism man looker'to his totem for

help believing that it was endowed with supernatural power. In Taboo man thought that certain objects, animal, or persons were endowed with supernatural power and contact with these might bring evil, or good spirits to him.

Ancestor-worship

was concerned with having social relationships with dead ancestors who may have been the head of a family, or tribe.^ All kinds of festivals were celebrated in relation to these different types of worship,

such as, New Moon Festivals

Sheep-shearing Feasts, Planting and Harvest Festivals. Elaborate rituals were developed and carried out each season in connection with these.

All great religions of the world

had similar beginnings to the above mentioned beginnings, o and the Hebrew religion Is no exception to the rule.

1 W. 0. E. Oesterley and Theodore H. Robinson, Hebrew Religion: Its Origin and Development (New York: The MacMillan Company, 1930), pp. 14-17. 2 Elmer W. K. Mould, Essentials of Bible History (New York: Thomas Nelson and Sons"J 1941), pp. 121-123.

the early chapters of Gensis in the Bible tell the story of the "fall11 wherein the serpent is endowed with super­ natural powers of speech and the tree in the center of the garden was taboo because of its supernatural power to change rz

the lives of those who partook of its fruit.0 Hebrew worship.

The early Hebrews were nomads and as

such their worship consisted of prayer and simple sacrifices. It was not until after the Exodus and the Laws of Moses that they developed more elaborate systems of sacrifice and prayer. Some of their early ceremonies and rituals consisted of the feast of the Passover, which has come down to now throughout the centuries and is celebrated to this day as the Passover by the modern Jew.

In Christianity it has emerged as the

sacrificial meal, or the Eucharist as initiated by Jesus before his crucifixion.

The early forms of Hebrew worship

consisted mainly of animal sacrifice to appease an angry God. There were constant reversions to earlier forms, the main examples of which are found in Exodus 32 where the story tells of the fashioning of the golden calf at Mt. Sinai, and in Numbers 21:4-9 where a seraph is directly attributed to Moses. Although Moses assertedly gave them the laws concerning worship of Yahweh when the Hebrew settled in Canaan it is

3 The King James Version, The Holy Bible 4. Ibid..

4

10 almost certain that they took up the worship of baalim,

the

fertility spirits and it was not until many years later that their worship of the one God, Yahweh, became clearly defined. The building of the Temple and the development of the priest­ hood ushered in the more clearly defined types of ritual with regard to worship.

The most clearly defined type of worship

from the Hebrew viewpoint is described in Isaiah1s vision in the temple.^

This particular kind of worship illustrates

the early form of dynamic worship, which is the type of worship considered in this study. There are other ancient types of worship which have developed into living world religions in addition to the early Hebrew religion, but it has been cited because it was the immediate predecessor of Christianity. Primitive Christian Worship*

Early Christian worship

was closely akin to its Jewish foundations.

ftThe book of

Acts portrays trie earliest Christians as thoroughly loyal to the central beliefs and practices of Judaism.”

It is

most likely that the early services of worship weie patterned after the Jewish Synagogue Ritual. One of the early additions

5 Ibid.,

Isaiah 6:1-13

6 Mould, on. c i t ., p. 530. 7 Ibid., pp. 535-541

7

11 to this service were the Christian hymns which were sung to Christ.

Christians were united in song and singing which

made for solidarity.

Prayers and scripture readings were

also important in those early services.

The ,fAgapetf or (Love

Feast) was a religious common meal held by Christians at the close of the day, and the ^Eucharist" or (Lordfs Supper) which means MG-iving Thanks11 and expresses the great gladness which characterized the early Christians in their group relations were the two memorials which soon were changed into sacra­ ments and were the foundations of the early Christian worship. In Christian communion the memorial became a mystical and realistic incoming of the presence of Christ into the self of the Christian communicant. Gradually as the Roman Catholic Church took form the Lord*s Supper took a prominent place in the service of worship where it became the crowning act of worship and edification. Q By the time of the Council of Nicaea in 325 A. D. the Church had developed a series of feast days and a set of laws which governed the rites of baptism and other sacraments.

Worship

consisted of prayers for the dead and remembrance by offer­ ings on the anniversaries of their decease, in addition to the celebration of the mass.

8

Gradually there developed a

P- 559

9 Williston Walker, A History Of The Christian Church (New York: Charles Scribner* s Sons, 1945TJ p"^ 92 f .

type of worship which was to be the pattern of liturgy used in the Catholic Church throughout the ages.

The Pope became

the intercessor for the sins of man, a high priest before God. The Refonnabion.

With the advent of the 16th century

Roman Catholicism was challenged by Martin Luther who believed that every man was a priest before God, and the Protestant Reformation was born.

”ln 1523, to meet the demands of the

new Evangelical worship, Luther,

issued, his Ordering of

W or ship, in which he emphasized the central place of preaching ^ 3 Formula of the M as s, in which,

though still using Latin,

he did away with its sacrificial implications,

recommended

the cup for lay usage and urged the employment of popular hymns by the worshippers.”^ Following closely behind Martin Luther was John Calvin, who stripped the liturgy of everything possible.

Calvin

developed a liturgy for worship based on the idea that God was all powerful and glorious in his trancendence.

Before

this transcendent God man was awed and became aware of his sinfulness.

Calvin laid strees on the Ten Commandments.

The Eucharist was celebrated by all and the cup was returned to the people. The Church of Engl an d.

10 Ibid., pp. 351-352. 11 Ibid., pp. 309-397

Meanwhile in England Henry VII

13 was instrumental in the formation of the Church of England whose supreme authority was vested in the King.

This church1s

worship combined elements from both the Protestant and Catholic Churches and produced a prayer book which has been a note­ worthy example of worship form ever since. Puritans.

Vilith the development of the Church of

England the confusion in the minds of the ministry and layity became apparent and finally there emerged the body of people called Puritans.

These Puritans at first were called Sepa­

ratist and later became known as Congregationalists.

Congre­

gational worship had no set liturgy and it was mainly characterized by the singing of hymns, or psalm, and the reading of scripture.

Preaching and extemporaneous prayer

were the chief elements.

The L o r d ’s Supper was practiced,

but it was not deemed necessary to carry out any set ritual in this respect, as it was regarded as a token of faith. There was a deep conviction of personal sin and a serious pursuit of personal Holiness.

The was a passion for sincer­

ity and high standards of self discipline, and a strong sense 13 of a direct individual relationship with Cod, ^ Methodism.

Moving along to the beginning of the 18th

century another type of free church had its birth in Methodism.

12 I bid. , pp. 401-415 13 Ibid., pp. 459-456

14 It came into being to meet human need.

It was represented

by those who had a vital personal experience of God.

Met ho ­

dist worship was based on the ritual of the Church of England. To this was added hymn singing and a message of salvation which was available to all who confessed Jesus Christ as Lord and Saviour.

Still more interesting was the fact that

the Methodist because of their faith were compelled to do something about conditions of society about t h e m . ^ The Society of Friends.

Another distinct form of

protestantism is found in the Society of Friends, whose ,fHistoric Worship11 is completely shorn of liturgy.

The

Quakers, as they were called, rejected all outward forms of worship and claimed a silent inner communion with God. The Unitarians.

15

The Unitarians are unique in their

worship and belief in that they reject the Trinity and believe that salvation is by character.

Worship is centered in an

intellectual pulpit.

14 Cyril Charles Richardson, The Church Through The Centuries (New York: Charles ScribnerTs Sons 1958), pp. 203-211. 15 Walker, ££. c i t ., pp. 478-480 16 Ibid.> P* 577

15 Summary.

Thus this brief historical account of the

various kinds of Christian worship shows three distinct types of worship in general:

The Roman Catholic liturgical

mass;

the Protestant liturgical worship; and the Protestant nonliturgical worship.

These have played their part in the

development of symbols and symbolism and have used,

or have

not used color, in the decoration of their individual types of churches. II. HISTORY OP SYMBOLISM Introduction to the study of symbols.

In the study

of Christian Symbolism the first question that comes to mind is, !twhat is a symbol?”

A symbol is a sign, or tangible

object which is substituted for something else. to convey an idea, or a belief.

It is used

Most of the meanings of

everyday life are conveyed by symbols.

Words and letters

of the alphabet are symbols that convey meanings to the reader.

They are symbols of the spoken language.

there are symbols which are the symbols of faith. in religion and life are as old as history.

Likewise Symbols

In fact,

they

are perhaps older than history since a system of symbols had to be developed before history could be recorded.

Stories

were told on the walls of ancient caves and tombs by word pictures. Very early in the development of Christianity a system of symbols began to develop as a necessity, Many could not

16 read, and pictures and objects representing an idea were used. In the Hebrew times symbols sometimes degenerated and became objects of w o r s h i p . O u t against images.

of this practice grew the oommandment

In the early Christian era symbols were used

to further the faith in times of persecutions.

The pagan

representatives of Imperial Rome did not understand the hidden, or underlying meaning of symbols and for this reason the use became widespread throughout the early Christian communities as a precaution against persecution.

The early dates show

that symbols were used extensively beginning late in the first century until late in the Middle Ages.

In the early days

of Christianity symbols of the resurrection and eternal life helped to maintain the morale of the little bands of Christians. Eschatolory played a great part in the development of early symbols.

In later periods the Church used symbols to teach

and bring to mind the great ideas of the Christian heritage and faith. Symbols and symbolism have three main characteristics: (1) the actual symbols including, emblems, figures, and types; (2) symbols that are used in the entire structure of a church building especially a Gothic Cathedral;

and(3)

of active worship contained in the liturgy.

the symbols

It is the purpose

of this chapter to trace and describe briefly the history of symbolism and symbols as so described.

1 Cf. Ante., p. S.

17 "The Catacombs in Rome,” in the words of Walter Lowrie, are considered the cradle of Christian Art,"

It is in these

burial grounds that many of the early Christian symbols are found.

For the most part they are either painted or incribed

on the walls of these subterranean tombs.

Symbolism is

found to a certain extent in all types of art and Christian art of necessity is symbolic*

The underlying reasons for

this is that there was always a certain amount of the super­ natural element, which is probably connected with eschatology. From the art found in the early catacombs on through the years symbolism has played a major role in the decoration of the Churches and Cathedrals In frescos, mosaics, where the early simple

and stained glass

symbols and shields of the saints

were used to tell the story of Christianity. Early Symbols. the fish. fecundity.

It was used

Among the earliest of all symbols is by the ancient Chinese as a symbol of

As the dolphin,

the fish was used by the ancient

G-reeks and Latins as the symbol of the saviour of the ship3 wrecked. The early Christians used it as a symbol of the resurrection and of baptism.

Clement of Alexandria reco­

mended that ail Christians wear rings engraved with a symbol,

2 Walter Lowrie, Art in the Early Church (New York: Pantheon Books Inc., 1947J 7 “p. 3§ T “ 3 Elisabeth Goldsmith, Ancient Pagan Symbols York: G* P. Putnam1s Sons, 1929), p. 122.

(New

18 such as the fish,

the dove, the anchor, the lyre, and the

ship, as being indicative of their faith in the second century.^

Sometime late in the second century the famous

acrostic from the Greek word IXGYZ meaning fish.

The initial

letters formed the full title for the Lord. *Iiqaouc; XpiOTOc 0 eot5 fYtoc Zcdtt|p y

Saviour.^

which means Jesus Christ Son of God,

In his recent book Light from the Ancient Past,

Jack Finegan cites a passage from F. J. Dolger,

Ichthys, das

Fischsymbol in fruhchristlicher Z e i t , which suggests that this acrostic was being developed if not already completed, it reads: A grave inscription of Licinia Amias from around A. D. 200 has the word ,fFishn followed by l,of the living,” which must mean H Jesus Christ, the Son of God, the Saviour of the living,” and is adorned with two fishes, „ which may represent the Christians who are 11the living.”b With this development the fish took on a new symbolic meaning and became associated with the Eucharist and still more broadly as the symbol of Christ in whatever connection was desired.

jn later years it was used using three fishes in

the form of a triangle to represent the Trinity.

4 Lowrie, I bid., p.75. 5 Ibid., p. 74. 6 F. J. Dolger,

Ichthys, das Fischsymbol in fruhchrist­

licher Z eit. I (1910), pp. 159-177. Cited by Jack Finegan, Light From The Ancient Past, ( New Jersey: Princeton University Press, 1946), p. 383.

19 In addition to the fish there are man other representa­ tive symbols which were used by the early Christians.

F. R.

Webber has gathered together the most complete list of these symbols in his book Church Symbolism.

The following have

been chosen as illustrative symbols and are listed here as a partial list of the more familiar symbols seen by the 7 average worshipper in the modern Churches. They are also, illustrated in color and indicated by reference to the Figures. The colors used in the illustrations are colors suggested as being authentic, or acceptable colors by Helen Stuart Griffith in The Sign Language of Our Faith.^

The Fish is Figure 1.

The Dove is the emblem of the Holy Spirit, Figure 2. The Hand of God is the symbol of God the Father, Figure 3 . The Crown of Life is the symbol of victory and sover­ eignty and is the emblem of the !lKing of Glory11, Figure 4. The Lyre is symbolic of music, or stringed instruments, Figure

5The Cup is the symbol of the passion and suffering,

Figure

6*

7 F. R. Webber, Church Symbolism (Cleveland, J. H. Jansen, Publisher, 1538), 413 pp. 8 Helen Stuart Griffith, The Sign Language of Our Faith, (Copyright 1939, Helen Stuart Griffith^ 1824“T6th., N. W. Washington, D. C. ), 92pp.

20

COMMON SYMBOLS

Figure 1 The Fish

Figure 2 The Hand of God

Figure 3 The Dove

21 COMMON SYMBOLS

Figure 4 The Crown

The Lyre

Figure 6 The C up

22

The Lamb of God is one of the most authentic symbols fop the Lord Christ, Figure 7. The Anchor is the symbol of hope, Figure 8. The Ship is the symbol of the Church, Figure 9. The Five point star is the Star of Bethlehem, Figure iO. The Pelican-in-Her-Piety.

This is one of the most

widely used, and outstanding symbols of the Redeemer, or Atonement, Figure 11. The Rose is the symbol of Messianic Promise, or Nativity,

or Virgin Mary, Figure 12.

The Nimbus in many variations surrounds the heads of the three members of the Trinity, the Saints and the Martyrs.

the Angels,

the Apostles,

Rays of light, or fire were

ancient emblems of divine power.

when they were round they

signified that the figure was dead, and when they were square they signified that the person was living at the time the Picture was drawn.

Figures 3, 7, 15, 25,26, 27, 28,

illus­

trate the Nimbus. The Fleur-De-Lis is a symbol of the Virgin Mary, Figure, 14 The Triangle was a monogram symbolic of the Trinity, Figure, 15 The Trefoil is another symbol of the Trinity, Figure 16. The circle represents the eternal life. Perfection and Compietness, Figure 17.

COMMON SYMBOLS

Figure 7 The Lamb of God

Figure 8 The Anchor

COMMON SYMBOLS

Figure 9 The Ship

Figure 10 The Star

Figure 11 The Pelican-in-Her-Piety

COMMON SYMBOLS

Figure 12 The Rose

Figure 15 The Nimbus

Figure 14 The Fleur-de-Lis

26 COMMON SYMBOLS

Figure 15 The Triangle

Figure 16 The Trefoil

Figure 17 The Circle

27

The Vine is the symbol of the Saviour and is seen in carved wood,

and in Stained Glass windows, Figure 18,

The Chi Rho symbol is among the most ancient of the monograms of the Lord Jesus Christ,

It is the abbreviation

of the word Christ in Greek using the first two letters to f'orm the symbol, Figure 19. The IHZ

is the abbreviated form of the Greek for Jesus,

’Iijcrouc; using the first two and the last letter,

figure 20.

The IZ and IHZ representing the first and the last and first two and the last letters of the Greek word for Jesus.

It is said to be the most ancient form, probably of

Byzantine origin, Figures 21. The XZ and XPZ are the first two and the first two and the last of the Greek word for Christ, Figures 22. The Alpha and Omega symbol represents the beginning and the end, Figure 23. The INRI symbol stands for Iesus Nazarenus Rex Iudaeorum (Jesus of Nazareth, the King of the Jews.), Figure

24.

The symbols of the four evangelists, Matthew, Mark, Luke, and John are represented by the Winged man, The Lyon, the Ox, and the Eagle, figures 25, 26, 27, and 28. The shields of the Saints and Apostles were represented in numerous ways and one each of the more important shields are represented here.

Figure 18 The Vino

COMMON MONOGRAM

Figure 19 The Lori Jesus Christ

29 COMMON MONOGRAMS

Figure 20 Jesus

Figure 21 Jesus

Figure 22 Christ

50 COMMON MONOGRAMS

Figure 23 Alpha and Omega

Figure 24 Jesus of Nazareth, the King of theJJews

51 COMMON SYMBOLS 0? TEE FOUR EVANGELISTS

Figure 25 Saint Matthew

Figure 27 Saint Luke

Figure 26 Saint Mark

Figure 28 Saint John

32

On Saint Peter*s shield was the inverted cross and the crossed keys representing Peter's desire to be crucified head down, and his keys to heaven, Figure 29. Saint Andrew's Sheild was a Saltire Cross, Figure 30. Saint James the Greater was represented by an Escolloped Shell Symbol of pilgrimage by sea and the sword symbolic of martyrdom,

Figure

31.

Saint John was symbolized by the Chalice from which rises a serpent, symbol of the poisoned Chalice, Figure 32. Saint Philip is represented by the budded cross, Figure 33. Saint James the Less is symbolized by a saw, Figure 34. Saint Thomas is shown by a carpenter's square and a spear, Figure 35. Saint Bartholomew*s shield had three verical flaying knives, Figure 36. Saint Matthew was represented by three purses, Figure

37. Saint Simon was symbolized by a fish on a booh,

denoting a fisher of men through preaching the gospel, Figure 38. Saint Jude was symbolized by a small ship, Figure 39. Saint Matthias was indicated by the Bible representing his call and a large knife representing Martyrdom,

Figure 40.

Saint Paul was symbolized by the Open Bible with the words Spiritus Gladius and the sword of spirit, Figure 41.

33 APOSTLES SHIELDS

Figure 29 Saint Peter

Figure 31 Saint James

Figure 33 £aint Philip

Figure 30 Sairit Androids

Figure 32 Saint John

Figure 34 Saint James the Less

34 APOSTLES SHIELDS

Figure 35 Saint Thomas

Figure 37 Saint Matthew

Figure 39 Saint Jude

Figure 36 Saint Bartholomew

Figure 38 Saint Peter

Figure 40 Saint Matthias

35 The Cro ss .

The cross is the foremost symbol of fee

Church, but as such it came into prominence in the sixth century.

It is very interesting to note that the cross in

some form, or another has been a religiours symbol since history began.

The ^Tau” cross, or the cross of Egypt has

been the symbol of emersion and resurrection and when used symbolized the 11after life,*1 or the !fLife to come,11 or the nFuture life‘.H

It was very old when used by the Egyptians

and was considered a divine mystery. Egypt to China, Chaldea and Phoenica.

Its use spread from It is, also, a part q

of the Hebrew alphabet where it signifies a 11sign]1 Figure 51. Another ancient cross was the Swastika, v/hich was used in Tibet as the sign of the four winds, or breaths. Jeremiah,

the first of the writing prophets,

also use it.

In ancient Troy it was used as a symbol of a belief in a divine spirit which lives after death. the Americas,

The aborigines in

also, used it for similiar purposes.

the only emblem of faith in the second century.

It was

In the

Story of the Cross, L. T. Coykendall said, nThe swastika is a man-made design— older than history.11^

9 Louis Theodore Coykendall, The Story of the Cross (Copyright, 1943 by Louis Theodore CoyKendall, Lancaster Press, Inc, Lancaster, Pa. ), pp. 8-10. 10 Ibid., pp. 12-13.

36 Coykendall continues: In its long descent through the ages it has commonly been considered a good-luck charm. Even its name, swastika, means in Sanskrit, "object of well being," Hitler chose it for this reason from the German legend as his symbol. Combined with his might, his ruthlessness and passion for power, its interpretation has been changed, permanently, we fear, into a symbol of horror, cruelty and suffering.-*-1 The Swastika was not used as a church symbol in later years because it was not held in great honor.

See Figure 50.

Strangely enough, the cross has withstood collapse of many civilizations and crisis after crisis in religious history and has still survived.

Among the most used crosses in the

Christian system of symbols; the Passion Cross, Figure 42; the Calvary

Cross, Figure 43; the Patriarchal Cross, Figure 44;

the Eastern

Cross,Figure 45; the Celtic Cross, Figure 46;

the Saint Andrew*s Cross, Figure 47; the Greek cross, Figure 48 the Maltese

Cross, Figure 49; the Flurie Cross, Figure 52;

and the Cross Patee, Figure 53. These crosses are most used in every form of symbolism. In the structure of catherdral buildings, frescos, on altars,

in paintings,

and in stained glass windows.

The cross

is also, blended into mosaics^ and woven into cloth and tapestry.

Bookmakers used the symbols of the cross in their

book designs and decoration.

Ministers and laymen have used

if for personal adornment, or as charms.

The cross in modern

use primarily represents the ideas which stem from life.

11 Ibid., p. 13.

37 APOSTLES SHIELDS AND COMMON CROSSES

Figure 41 Saint Paul

Figure 42 The Passion Cross

Figure 43 The Calvary Cross

Figure 44 The Patriarchal Cross Figure 45 The Greek Cross

38 QOMMON CROSSES

Figure 46 Tbeu Celtic.Cross

Figure 48 The Greek Cross

Figure 50 The Swastika

Saint A n d r e w ’s Cro ss

Figure 49 The Maltese Cross

Figure 51 The Tau Cross

COMMON CROSSES

Figure 53 The Cross Patee

Figure 52 The Flurie Cross

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CHAPTER

V

MATERIALS AND METHODS EMPLOYED IN BUILDING WORSHIP CENTERS TO MEET FUNCTIONAL NEEDS The basic need in building worship centers Is a creative imagination that has been trained to see value in the most insignificant piece of cloth, or any other object, either ma n made or of natural origin.

It is not necessary

for the builder of worship centers to have formal training in an Art School in color and design, but he should have a willingness to consult good books in the field, especially If he does not have native gifts In this respect.

He

should be adept In creating the desired effects with his hands in the making of symbols.

Last, but not least, he

should strive for simplicity in form and design, for more often than not the simple design is most effective. Basic Materials 1.

The first requirements under basic materials

are craftsman’s tools, which may be limited to a carpenter’s tool box. 2.

One should have access to building materials

such as ply-wood, plaster boards, and various types of assorted lumber with which to construct triptychs and other articles made of wood,

such as crosses.

96 3. on hand, or 4.

All kinds, colors and shapes of cloth should be available on a m o m e n t ’s notice. There should be all kinds of paints and stains,

in the basic colors of the spectrum and black and white, for mixing purposes. 5.

Colored chalk should also be added.

Various types and colors of construction paper

should be available, including crepe and wall papers. 6.

Electrical equipment in the form of extensions

and spot-lights with colored lenses globes are desirable. 7.

and colored electric

,

Flower holders, containers, vases, flower pots,

and jars of every description imaginable are needed. Included in this Item would be wire and needle flower holders and modeling clay, as well as other accessories necessary for creating interesting flower arrangements. 8.

One should have free access to flowers,

shrubbery, flowering trees, ever-greens, and such things as gourds, pine cones,

seed pods, weeds, grasses, and any other

natural item of a vegetable nature. 9.

There should be such articles as sea shells,

anchors, ships, clocks sundials, bird baths, and other like articles than can easily be turned into symbols. 10. Y o u ’ll need candles of every color,

size, and

shape and the necessary holders for them. 11. Any kind of ceramic, metal, plastic, or wood

97

article which may have a shape or form capable of use in building the total effect is helpful. 12.

Finally, the builder should have access to fine

pictures and adequate frames to display them. To the inexperienced person this may seem an endless impossible list to be secured and it should be noted that such a list is not acquired all at once, but is collected over a period of time and may be used over and over again. It should also be noted that such places as the Goodwill Industries often have articles which may serve the purpose at a cost far below the original cost of the article. Methods Used to Combine Symbols and Co lo rs .

The

method used to combine symbols, forms, and colors in constructing meaningful worship centers is not some magic drawn from mystic dreams, but a functional set of basic rules developed on primary facts.

They may be classified

under the following questions; First, what is the theme of the proposed worship period?

Second, who will be the

worshippers?

Third, where will it be placed and at what

time of day?

Fourth, what is the best symbolism of colors

and symbols to depict the particular theme?

Fifth, what

are the most suitable materials to use to complete the center in every detail?

Lastly, the most important over­

all question: is It functional?

98

It is quite possible that groups may gather together for worship and not actually know the theme before hand.

In

this kind of situation the person or persons who create the worship center must decide upon the proper or suitable symbols and colors to represent some rather general theme. After a theme is chosen whether it be by the group or the person creating the worship center the first question to ask is, how can the theme be symbolized in order to carry out the best possible type of functional symbolism.

For

example, the first of the themes used in the series of Chapel Services in the Common Room at the School of Religion of the University of Southern California was "What Jesus Means To Me."

It was known that the speaker was of the

liberal point of view, which in this incident meant that the life and death of Jesus were to be thought of as being a part of the creative process of the universe.

This meant

that the creator was free to use symbolism in the most liberal sense.

The time was high noon.

the West wall of the Common Room.

The setting was on

There was brilliant sun­

light from the window on the left, which faced South, and normal daylight from the East windows at the back of the room.

It was middle October, which meant that the sun was

approaching its lowest point in the sky and that would necessitate drawing the window shades if an even shadowed light was to be obtained.

The worshippers were to be

99

students and members of the faculty of the school.

This

meant that there would be individuals whose spiritual life experiences would fall on different levels.

They would be

critical and discerning in their acceptance or refusal of what was set before them.

Some would agree with the

theology of the symbolism and some would be violent in their disapproval.

Others would be captivated by sheer

beauty and nothing else.

However, it was stated that it

was quite possible that it would meet the approval of not more than half of the group assembled. There were three factors to be considered in the possible symbolism to be created in the worship center.

One

was the universe, another was the belief about Jesus and the other was the creative process.

What were the materials at

hand that would best symbolize this theme,

since there were

no funds available to purchase new materials?

There was a

large sheet of turquoise blue paper which just matched the autumn sky. weeks before.

There was a crude cross of twigs used several A trip to the mountains the week before had

netted some beautifully colored sycamore pods and leaves and several oddly colored fall desert flowers with a pale yellow and green cast to them.

Three cattails that had been

gathered in July with some such purpose in mind, and an abundance of yellow and red pyracantha berries — by their green leaves.

set off

There was a piece of cloth in a very

100

deep red-violet shade that was akin to the ancient purple, and three candles of a still deeper shade. The problem was to arrange these so that the total effect would symbolize the theme “What Jesus Means To Me." The blue piece of paper was cut into as large a circle as width would permit and this was mounted on plain corrugated box board.

It was placed in the center of the table, a

modern fall leaf, flower, and berry arrangement was made of the assembled natural materials.

The cross was worked into

this so that it could be seen but was not prominent in the center.

The three candles were placed to the right so as

to properly balance the arrangement.

All was arranged on

the deep red-violet cloth. The total effect in color was a sampling of all the rich fall colors as found in nature in late October.

The

deep turquoise sky represented the universe, and God, the creator of all life.

The natural flowers, berries, pods

and leaves represented the on-going creative process, and the cross representing the life and death of Jesus placed as it was within the frame work of the natural symbols, symbolized that Jesus was a part of G o d ’s eternal creative process.

The candles lent beauty and symmetry to the entire

figure and while the creator left them to the immagination of the worshipper, they could have represented G o d ’s eternal lights of the universe.

The center was photographed in

101

Kodacolor and is shown in Figure 1.

Page 76 above.

The question arises as to how the creator should set about to choose color and symbol and their respective relationships in regard to size and tecture.

Shortly before

Easter and during the Lenten period an internationally known leader advocating world peace was to be the speaker at a chapel service.

The actual theme was not known except that

it was to be on some phase of world peace. formed a striking symbol.

Three ideas

A world globe, a crown of thorns,

and one unlighted candle, symbolizing that the candle could only be lighted when the world through suffering became united in the belief that there was one eternal God.

The

triptych was covered with three colors of blue, each having a decidedly different meaning, the blue on the left was the turquoise blue of the sky in March and the same as the blue used in Figure 1.

It symbolized the universe also, and the

red-violet candle was silhouetted against it.

The other

two shades of blue represented loyalty and truth.

One was

a clear shade of royal blue symbolic of deep loyalty and truth.

The other blue was an off shade of royal blue,

symbolizing that some individuals are not completely true and loyal to a cause, and are middle grounders, who support a cause when It moves along smoothly, but desert it when the tension rises.

The red-violet drape was symbolic of

suffering and shame caused by war.

Figure 8 shows the

102

Figure 5 The Student and Personal Devotions

Fi s u r e

6

.

The Individual and Crisis

Figure 7 The Chinese Christ

Figure 8 Crown of Thorns and War and Peace

104 completed center*

(It should be

noted that

this was taken

late in

the day and the reds are more prominent than the

violets

in Kodacolor late in the afternoon.

was the

same as used in Figure 1 which is a

The red-violet more nearly

perfect reproduction.) The size of the triptych was 3 2 rt high and was a good size considering the room it was to be used in. Inasmuch as there was to be a crown of thorns around the globe, it was thought that the crown should be approximately the size that would naturally be worn.

Therefore a globe of

corresponding size should be used, approximately 8" in diameter.

If a larger or smaller room were to be used a

correspondingly larger or smaller crown and globe should be chosen.

For example, if an auditorium or sanctuary were the

size of Bovard Auditorium on the University of Southern California campus a small globe of 8 ” would be lost in the perspective.

The candle in the center used in Figure 8 was

2 3 ” high and would also be lost in the larger situation.

It

would therefore be wise to double or triple the size of the globe and candle and place them in front of a dosal curtain on a chest or altar of considerable size.

This would give

a better feeling of balance and the perspective would be more nearly natural for the individual in the Auditorium itself. In the combination of color and form it is always

105 wise to let the natural symbol guide the size of the manufactured one.

It may be the manufactured symbol will

be small as was the Chinese figurine in Figure 7 or it may be large similar to the cross in Figure _6. is governed by the total effect desired.

This principle The first one

represented beauty in the entire effect, and the second one represented a crisis for the individual man, as represented by the single white candle in the center of this side of the window frame. Flowers or greenery of any kind are always in keeping with the best in worship for they represent the on­ going eternal creative process. the nature of God.

They are living symbols of

The question often arises as to the use

of certain colors with respect to worship centers and flowers.

Next to the rainbow colors themselves the colors

found In natural beauty are always more significant and true to the spiritual meaning of color than anything else. The question was asked why pink camellias and other pink flowers were used with respect to colors in Figures 6 and 7.

The answer was that there was not particular psychologi­

cal reason for the use of pink camellias, or pink peach blossoms except that they were the exquisite offerings of nature in the spring time, and that they represented reality in life.

Psychologically if one were to carry the psychology

of color to t h e Tenth degree the pink camellias in the

106

Figure 9 Christmas Communion

Figure 10 Palm Sunday

107

Figure 11 Easter Sunday [ -■

Figure 12 Spring Flowers

Figure 13 The Cross and the Individual

Figure 14 The Christ

109 Figure 6 would have symbolized a healthy mind, which would have fitted the psychology of the theme excellently as it dealt with the bi-polarity of life itself. Summary and Conclusion. In conclusion, it may be said that if the creator has an open mind to new ideas and a willingness to experiment, plus a few basic materials to be used in construction, it is easy to develop techniques that will produce good worship centers.

The basic ideas for themes

are not hard to find in a society whose very life depends upon some kind of symbolism, for Its daily sustenance, including the universal natural symbols of the eternal God at work in the world.

CHAPTER VI THE GROUP PROCESS AT i/vORE APPLYING THE PRINCIPLES OF THE NEW ORIENTATION FOR RELIGIOUS SYMBOLISM IN WORSHIP In the process of setting up an example of how the group process may be applied to worship and the educational process, an arbitrary group of High School Youth was chosen. It should be made clear, however, that the group process will work when applied to any other age group in the Church School or the main body The senior high

of the Church. school group of a medium sized

church was having difficulty In getting its members to attend regularly and on time.

Many excuses were made for

this, but the wise counselor knew that

it was the worship

services and the entire

of the group that

was lagging far behind.

spiritual tone

Being a non-directive type of

counselor he decided that he would set the stage for some action, which was to come from the group.

It was summer

and camping time and the young people were going to their favorite summer camp.

Earlier in the year he had accepted

the invitation of the camp management to be the Worship Counselor for the camp, but his young people had not known of this and he d i d n ft tell them.

When the time came none

of his group signed up for worship work shop with the exception of one very talented girl, who had a very sincere

Ill

spiritual nature*

The week was a success in every way and

the young people came home with some new ideas as they most always do from summer camps. The Group Evaluates Home P r o g ra m.

In the leadership

training group at camp the young people had learned the value of evaluation of the youth program of their individual groups in the light of the mountain top experiences of camp. As a result they called a council meeting of the entire group to d.iscuss plans for the coming year.

The counselor

sat hack and watched the action which was taking place. Young people can he very critical of the situations before them, and his youth were no different than any others in this respect.

The president of the council pointed out that

they had all heen lagging on the job and asked the group wherein they thought their particular group was weak.

After

a long discussion as to every conceivable weakness but the right one, the young girl who had been in the counselor1s group at camp said, "I think we are missing the real issue in this matter of attendance.

We d o n Tt offer anything to

people that makes them want to come."

The group was really

surprised for this girl had never really taken an active part in the council meetings.

The counselor was really

proud of her for while she had attended his group at Camp she had said

very little while there, but had taken notes

112

and had actively joined the camp group as they had planned the morning watch and evening vespers which had been the highlights of the camp.

Then when the group asked her what

she meant she asked them a question,

"That was the most

important highlight in the whole camp for anyone of you?" The group was unamimous that it had been the worship experiences.

"Well, do you think they just happened?

No I

They were the result of careful planning by the worship committee under the direction of the resource leader.

We

don*t plan our services or worship centers like we did at c a m p •M Needless to say the group elected that girl chairman of a new worship commission and asked their counselor to stand by as resource leader for them. Commission Purposes, P l a n s , and Executes.

The newly

appointed Chairman and her committee of four gathered together early in the following week to discuss their plans. She told them of what she had learned about the purpose of worship in the educational process and how worship centers would aid the individual to a richer experience of God and deepen his spiritual life, and how the actual theme of the worship service could be tied into the overall theme of the entire meeting.

The group was full of questions and soon

they began to set down some definite purposes for the coming

113

year*

First,

they would get together with the program

commission and find out as nearly as possible the themes of each evening and the subject of the speakers.

Second,

they would have to do some planning ahead of time if the worship service was to be a success.

No last minute

thumbing through the hymnal and Bible for hymns and the scripture!

No poorly arranged flowers dumped on the

speakers table! In order to make plans they found that they would have to study about worship, prayer, color, design,

symbols

and educational psychology if they were going to do a good piece of work.

The Chairman appointed various ones to

study each field and bring in a report for the next meeting and they were all to study about worship in general. Meantime Sunday was approaching and it was the first Sunday of the Fall Series, and, as the custom was, the counselor of the group was to be the speaker.

They turned to him and

said, "What are you going to talk about?" the words of Jesus when he said,

He answered,

'Follow M e T."

"On

Then he

told the group that he would have to leave them for another appointment and that he would be on hand on Sunday night and wished them success in planning their first correlated worship program. After much discussion the group decided on a worship center with the picture of Tom Carr's Jesus and the

114 Children, which was entitled "Follow Me," and each person on the commission pledged himself to do one or more things to make the service a. success.

Sunday night came and

everything went along wonderfully well and the group received many comments, most of which were the usual

T0h,

that was a nice worship c en te r, 1 etc. Commission Evaluates.

At the next meet of the

worship commission the spirit was good and the Chairman asked for evaluation of

what had taken place.

The mistakes

were noted and possible solutions were suggested.

One was

the arrangement of flowers that someone forgot to remove from a conspicuous place where they d i d n rt belong.

Another

was the arrangement of the scripture and poetry that was read during the service itself.

Still another was the

choice of background for the picture.

All of them minor

criticisms, but when added together made the total effect far below what had been expected. Continues the

Prooe s a .

Thar© was no dlsoouragement

and the group began in earn est to study the a rt o f creating meaningful worship centers. for special occasions.

They built triptychs and altars

One of the members of the larger

group became interested in the work of the commission and offered to lend a hand in transforming the ugly window at the front of the classroom into a beautiful simulated stained

115

glass window that would always have spiritual significance for the group and would create a sense of lasting value for everyone• Counselor Remains Resource Leader,

During the

entire year the counselor sat in with tie group as a resource person.

He suggested valuable helps to the group when asked

to aid them but, in no way did he direct the group how a thing was to be done.

This was true in the summer camp

worship workshop, where too he had served as a resource leader -- true he had anticipated the needs of the group, for he always had the basic material near at hand.

But

that is one of the basic qualities of good religious leadership -- to anticipate the needs of the group and make available at the psychological time the materials that will be needed. There are many other methods which could have brought about the same results,

such as social drama,

project, panel discussions, group study of history of worship, and church symbolism as contrasted with modern ideas.

The above account is given as an example of what

might happen in an adult church situation where the pastor became the counselor and worship commission appointed by the official governing body of the church began to purpose, plan, execute and evaluate the worship services of the church as a whole.

CHAPTER VII RELATIVE VALLES OF THIS NEE ORIENTATION FOR RELIGIOUS SYMBOLISM IN A0R8HIF IN RELATION TO CHURCH IN GENERAL AND TO LORLD COMMUNITY I,

CHURCH IN GENERAL

The ministry of color and symbolism is gradually taking a positive effect upon worshipping congregations throughout the world.

This is taking place largely through

the efforts of the Interdenominational Bureau of Architecture under the direction of Dr. Elbert M. Conover. But experience shows that while the leaders of the Church know and understand in part the increasing value of the use of color and symbolism in Churches, few of them have any basic training in Art. The Educational V a l u e : of the worship center in the educational department of the churches is invaluable as an aid to teaching people the real meaning and value of the more formal types of symbolism and color in the larger sanctuary of the church.

The problem is not so great with

the building of new churches,

since church architects in

the present day are trained technicians in the use of color and symbol in the development of psychologically correct uses for large auditoriums and general meeting places and

117 they are usually alert to the more modern ideas in this respect.

The hulk of the trouble lies in the older churches

where remodeling should and is taking place. of wealth,

said one day,

An older woman

T'I would like to donate a cross to

the church in memory of my husband, but they tell me that there is no place to put a cross in the arrangement of the altar.”

She was horror stricken when it was suggested that

if the ugly organ pipes of yester year

(which her husband,

along with the other members of the building committee had allowed to be placed in the center of a modern Gothic structure and which interfered with an exquisite rose wheel window) be removed and the proper type of a dossal hanging provided, a fitting and suitable cross might be placed upon the altar, her reason was that it wrould cost too much! This points out one of the mistakes which the Protestant church so often makes by trying to get along with the next best, because the best costs too much. Practical and functional training in the educational department of the church might lead to the correction of poor lighting in the church caused by dark walls.

In

"Dynamics of Color,” the Pittsburg Plate Glass Co. has a chart which shows the relative values of reflection properties of certain colors of paint.

With certain colors

the light reflection may be increased as much as 30^ with the addition ofvery little white, which d o e s n ’t change the 1 Pittsburg Plate Glass Co., Dynamics of Color Pittsburg, Pennsylvania. n#

318

basic color very much but steps up the reflection values. If color dynamics were studied by educational groups and experimented with in smaller rooms by interested laymen the interior decoration of churches would benefit materially. Some of the older churches are contemplating the replacement of certain types of stained glass which are not in keeping with the art of stained glass at its best.

The

study of symbolism, both ancient and modern, would definitely aid and promote better stained glass symbolism. Invites Universal Understanding:,

The small worship

center has i t 3 values throughout the church and the church year.

Centers like the one in Figure 2. are suggestive of

world brotherhood.

This center used the beautiful Chinese

Print of Jesus and the Children and combined other Chinese Art objects to make an inspirational center that may well have been used for world friendship schools or by teachers who wish to demonstrate the possible symbolism in other countries. When great religious values are symbolized in color and tangible symbols they may become aids to developing world understanding.

The crown of thorns around the world

in Figure 8 was an idea expressed which was significant of the fact that world peace could come only through sacrifice and suffering of those who were willing to commit themselves to the idea that there was one God and creator of all peoples

119

and that when men recognize this there could he world c ommuni t y . Natural symbols were used in many of the experimental worship centers because they were the most universal symbols of the creative process throughout the world.

It was thought

that these might be the common denominator which might well form the link that could draw me n together in understanding and uni t y . II.

COLOR AND SYMBOLISM AND THEIR RELATIONSHIP TO WORLD COMMUNITY The story of color and symbolism as related to the

world's living religions is vivid and fascinating.

India,

China, Persia? Arabia, Japan all have used colors to symbolize the most important ideas of the spiritual life. While in certain remote sections certain hues are never used, in still others they are revered.

In the total

picture an analysis shows that the colors of the spectrum, which are the basis of color in the early Hebrew-Christian tradition, are virtually the same In their symbolic meaning in their pure hues the world over.

Time and custom have

changed certain ideas concerning the combination of these colors, but in the main they come, "to touch the eye of man today and tell him that the abiding principles of good and

evil are emblazoned in the hues of the rainbow.”

The fact

that certain districts of India use blue and yellow and others do not, is, in perspective, no different than the difference between Roman Catholicism and Frotestantism in their

use of Blue.

the other does.

One does not permit it in the liturgy,

Yet in

the main both believe In its

spiritual qualities. Symbolism in religion in the above mentioned countries is most naturally different for the Brahman, the Confucianist, or Taoist, the Buddhist, Zoroastrian, and the Shintoist.

the Mohammadan,

the

It is different because it

tells

a different story for each type of religion.

The

study

of the nature and meaning for all these different

symbols for all religions does show that basically man has used certain symbols, whatever they may,be,

to point to

something fundamental in the world outside himself.

If

m a n ’s symbols direct him to the symbol alone, these symbols become idols, but if these symbols are suggestive of higher spiritual qualities and draw the soul of man out toward the infinite they become aids for man to attain communion and fellowship with the creator. 1

When It is recognized that color and its symbolic

meaning., and the great religious symbols of all religions, % Birren,

ojd .

c i t ., p. 50.

121

whether they be a cross, or a dragon or any of the many dozens of similar symbols, are expressions of what man believes about the infinite realities of life, and when men begin to realize that basically their emotions and thought patterns are substantially the same though expressed a little differently here and there, basis for world community.

then men will have a

Floyd H. Ross has expressed it

clearly in his recent book: If what Christians call Mthe ChristTT is admittedly not necessarily connected with specific historical forms or terms, if God works in hidden way throughout history, let us admit that God can work through Buddist channels as well as Jewish channels, through, Krishna symbols as well as Christ symbols, through secular agencies as well as religious ones. Apparently God works through none of them with transparency or to >the exclusion of all other channels. The value of rany symbol, technique, or term is in its capacity to i point beyond itself. If a symbol does not do that, it becomes an Idol. An unexplained or explored symbol has little power to evoke motivations of a creative sort .'3 The value of studying colors and symbols in small worship centers or on the altars and decorations of great cathedrals is unlimited if it helps men to understand the infinite God and themselves.

If symbolism of any kind can

aid the educational process in helping men to understand each other, to have respect for each others folk-ways and customs, to learn that the Infinite creator is the same loving creator of all peoples If it can show men that they 2 Floyd E. Ross, Addressed to Christians Isolationism vs World Community, (New York: Harper & Brothers, 1950), pp. 142-143.

122

are basically alike and the so called differences between them are superficial and that they are to be understood and tolerated, then the study of symbolism is valid as an aid to the development of world community, so paramount in the world today.

It is a channel through which men can be

aided to the ultimate values which are the same yesterday, today and tomorrow.

CHAPTER VIII SUMMARY AND .CONCLUSIONS The historical exploration of worship, symbols,

and

color showed that man has been using symbols and colors to tell about the religion in which he believed.

Except in the

very primitive religions he has not worshipped symbols, or colors, but rather he has used them to tell a story about his beliefs.

In as far as their use was to tell a story, or

point to some religious truth beyond man and the symbol and color these early symbols were not idolatry.

While the impor­

tance of the study suggested that some misunderstanding was prevalent in this respect, the survey indicated that only a small percentage of people regarded symbols and their use in the worship centers as a form of idolatry.

The reason for

this was an admitted denominational prejudice in this respect. This, however, leads toward the idea that worship centers which use colors and symbols as aids to worship must be used in connection with adequate educational interpretation. It was found that color does have a psycho-dynamic /effect upon persons in the studies in Chapter III.

The new

fields of psychophysics and chromotherapy are discovering many new ideas in regard to the relationship of color to man and his responses to it.

It was found that colors and symbols

do play an important part with the emotional responses of the individual.

This only emphasized more directly the need

and importance of studying the use of colors in proper

proportions in all areas of life and especially so in the area of religion and worship.

Here, too, it is advisable .

to use color only after thorough study and investigation of its possible unknown reactions on the individual worshipper. It was found that worship centers are valuable in creating certain effects with respect to worship.

It was* also,

found that the worship center does serve as a focal point in pointing up an idea or centering the attention of the worshipper on God, and truths about God and the universe. The experiments showed that the worship centers used were of educational value to those who participated in the Chapel Services.

There was increased interest among persons who

did not attend the services, but who had occasion to view the centers as they were being construeted,or on other days when the centers were left up for a day or so before removing them.

They evoked interesting educational discussions re­

garding the use and meaning of certain symbols and colors, and their subsequent use in the centers.

The survey showed

that individuals were definitely influenced by the use of these planned worship centers to do something about the situations which they found in their own local churches in regard to worship centers and their use. It was discovered that at least seventy five per cent appreciated

the centers for there aesthetic values as well

as there spiritual values as worship centers. the results, however,

In tabulating

it was discovered that the spiritual

125 qualities of the worship center could be emphasized by drawing the attention of the worshippers toward the center in some directed mariner of explanation.

While this may aid the people

at the time, the better procedure would be to teach the value of colors and symbols in the total educational process, leaving the specific worship center to the spiritual imagination of the worshipper during a worship service.

This emphasizes

the importance of directed education in this regard. Of the worship centers used and illustrated in this study it was interesting to note that Figures 7 and 8» were the most popular, and especially so because of the interest of the study in the possibility of using colors and symbols in developing World Community.

Figure 7, emphasized the world

outlook as far as religion was concerned.

Figure 8, with its

crown of thorn around the world was significant because it suggested that one world was possible through sacrifice on the parts of all peoples. Figure 3, proved to be the center which was most liked and disliked Canter in the group.

This was interesting

because it indicated that while some individuals have creative minds that are able to find ultimate meaning the worship centers which vary from the tradition there is still a large percent of persons who become confused and distracted by center which is complicated.

a

12 6

An analysis of the questionnaire used in the survey shows tlat most of the adverse comments on the questionnaire were due to lack of primary understanding as to the nature of the worship center, as a whole and to the origin and meaning of sybolism and colors used the construction of worship centers. It is significant to note that many of the disliked centers were disliked because of previous association with colors or symbols.

One person didn't like the use of certain flowers

because they reminded him of funerals and another d i d n ’t like a certain shade of red because of a previous association with that particular shade.

This bears out the idea that there

is much that is not known about the influence of colors on life and suggests that there is much to be done in the area. In conclusion it is believed that this study has shown that colors and symbols in worship centers as used in functional education are more important than they have ever been.

If

properly explained in the educational process the worship center may be a definite aid to creative worship.

The unknown

values in the psycho-dynamics of color still needs to be explored, but it is safe to say that people respond favorably to beauty if they are subjected to it in a well planned way regardless of whether a center inspires spiritual creativity. Since the worship center is in use in the average church school, it is wise to suggest that further study should be made as to the best possible way of making them functional

for the greatest number of people concerned. The worship center and its use of color and symbol does have definite value in fostering World Community# through the development of ideas between people through their use.

There is still much to be learned relative

to the use of color and symbol, but it is certain that they could be used to develop appreciation and understanding among the peoples of the earth.

What better place is there

to begin than with a study of the use of color and symbol in world religions. future study.

It is a challenge worthy of some

BIBLIOGRAPHY A. BOOKS Abbott, Arthur G . , The Color of Life . New York: Hill Booke Company, Inc.,”"T947. 294 pp.

McGraw-

Birren, Faber, The Story of Color From Ancient Mysticism to Modern Science, Westport, Conn,: The Crimson Press, 1941 538 pp. Bustanoby, J. H., Principles of Color and Color Mixing. York: McGraw-Hill Book Company, Inc., 1947. I3l pp.

New

Cheskin, Louis, Colors--What They Can Do For You. New York: Liveright Publishing Corporation, T948. 333 pp. Connick, Charles J . , Adventures in Light and Color, New York: Random House, 1937*1 4&8 pp. Conover, Elbert M . , The Church Builder. New York: Published By the Interdenominationa Bureau of Architecture, 1948. 192 pp. Evans, Ralph M . , An Introduction to Col or . * And Sons, Inc., X948. 340 pp.

New York: John

Finegan, Jack, Light From the Ancient Past. New Jersey: Princeton University Press. 1946. 500 pp. Gardner, Helen, Art Thru the A g e s . and Company, 1936. 795 pp.

New York: Harcourt, Brace

Goldsmith, Elizabeth, Ancient Pagan S y n ir o l s . New York: G. P. Putnam’s Sons, 1 9 2 W I 220 pp. Griffith, Helen Stuart, The Sign Language of Our Faith. Washington, D. C.: Copyright, Helen Stuart Griffith, 1939. 92 pp. Lowrie, Walter, Art in the Early Church. Books. 1947. 2^8 pp.

New York: Pantheon

Mould, Elmer V/. K., Essentials of Bible History. New York: Thomas Nelson and Sons, T9’417— 6*78 pp. Oesterley, W. 0. E., and Robinson, Theodore H. Hebrew Religion, New York: The MacMillian Company, 1930. 4‘ CTO' p'p*

129 Richardson, Cyril Charles, The Church Through the Centuries. New York: Charles Scribner1s Sons, 1938. 255 pp. Ross, Floyd H . , Addressed to Christians: Isolationism vs. World Community. New York.; Harper and Brothers,PubTTshers, 1950. 154 pp. Staffor-d, Thomas Albert, Churches.

Christian Symbolism in the Evangelical

Underhill, Evelyn, W o r s h i p . New York: Harper and Brothers Publishers, 19377 350 pp. Walker, Williston, A History of the Christian Church. York: Charles Scribner1s S ons, 1945. 624 pp. Webber, P.,R., Church Symbolism. Cleveland, Jansen Publisher, 1937. 413 pp.

New

Ohio: J. H.

B. BOOKLETS Coykendall, Louis Theodore, The Story of the C r os s. Lancaster Press, Inc., Lancaster, Pennsylvania, 1943. 38 pp. Wilson, Frank E. An Outline of Christian Symbolism. New York Morehouse„Publishing Co., 1933. 64 pp. C. PERIODICAL ARTICLES Luckins, N. M . , and I. C. Sherman, ’’Effect of Color on the Output of Work of Psychotic Patients in Occupational Therapy,” Occupational Therapy and Rehabilitation, 20:121-125, April. Mosse, Eric P., ’’Color Therapy,” Occupational Therapy and Rehabilitation, 21:33-40, Februdry, 124IJ. Schachtel, E. G-., ”0n Collor and Effect,” Psychiatry 6:393-409, November, 1943 E. PUBLICATIONS OF LEARNED ORGANIZATIONS Connick, Charles, J. ”The Language of Stained Glass” Form No. 41 Interdenominational Bureau of Architecture

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