212 
FLORAL DECORATION OF CHURCHES. 
[Nature and Art, December 1, 18G6 
The decoration of Late Pointed buildings is by 
no means so easy, the general details of the archi- 
tecture not being of so distinct a character, or so 
susceptible of tasteful enrichment by floral appli- 
ances. In rich examples, all the wall spaces will 
be found covei’ed with panelling, the columns 
moulded, or having small shafts attached to them, 
and separated by large shallow hollows, the arches 
much depressed, and their small spandrils panelled. 
The windows are very large and consequently 
leave but little wall-space between them. The 
style is also rich in screen and tabernacle work, 
but seldom shows arcades of any importance, the 
ordinary panelwort taking their place. 
In simple buildings but little panelwork is met 
with. Plain octagonal columns take the place of 
moulded ones, and, generally speaking, more wall- 
space is found than in the more developed examples. 
In considering the decoration of buildings of this 
period we must therefore conclude that small de- 
tails in constant repetition must be decided on. 
In the ornamentation of walls covered with panels, 
it is advisable to insert small devices either in the 
shape of coloured shields or floral work in the 
centres of the panels. Columns when moulded are 
better left undecorated, but when they are octagonal 
they may be wreathed spirally or have their capitals 
surrounded, when uncarved, with chaplets of ever- 
greens. Mouldings may be left undecorated or 
have patterns of evergreens inserted at intervals 
into their large hollows. The screen and tabernacle- 
work of the period may be decorated, when of a 
simple and defined character, but when very rich 
and complicated, as in many of our large buildings, 
floral enrichment should be dispensed with or used 
very sparingly. Temporary screens, richly covered 
with evergreens, banners, scrolls, and shields, form 
most appropriate ornaments in those churches where 
permanent screens do not exist, or indeed in any 
case where they may be inserted. These screens 
should be formed of light timber work and wire. 
Banners and shields may be used to any extent in 
the decoration of Late Pointed churches, and almost 
any shape of the former may be adopted as taste or 
circumstances suggest, but the latter should be of 
either of the forms shown in woodcut below, in- 
stead of that on our plates. 
Having briefly considered the manner in which 
the schemes for the decoration of churches in the 
various styles of mediaeval architecture should be 
determined and developed, we have now to say a 
few words on the symbols, emblems, and monograms 
most suitable and appropriate for the Festival of 
Christmas. 
Generally speaking, far too little attention is 
paid to the selection of the symbols and other sacred 
devices for the different seasons of the Christian 
year. Indeed, the whole collection of symbols, 
emblems, and monograms which have been intro- 
duced by the early artists, and which have been 
dedicated to the service of the Church ever since it 
struggled under persecution in the catacombs, has 
of late years been looked upon as a sort of stock 
set from which anything that strikes the individual 
fancy may be taken for any purpose or for any sea- 
son. We have great hopes, however, that matters 
will be altered, and that as Christian art comes to 
be better understood, we shall not have to blush for 
the mistakes made, and the ignorance displayed, in 
quarters where all things should be as perfect as 
minds and hands can make them. 
Of all the Christian symbols the cross is at once 
the most universal and beautiful, and its use, under 
certain conditions, is allowable at all seasons. As 
a Christmas decoration, the Cross need not be made 
very prominent, and in no case should the Latin 
form be adopted, although, owing to a vei’y popular 
and mistaken idea that this form is the only proper 
one, it has long been almost exclusively used in 
Christmas decoration. It must be understood that 
the Latin Cross is derived directly from, and repre- 
sents the actual Cross on which our Blessed Lord 
suffered, and is termed in its simple shape the 
Calvary or Passion Cross. Now it is obvious that 
at Christmas, of all seasons of the year, we should 
have no wish more particularly to allude to the 
Passion of Our Lord, than we have desire on Good 
Friday to commemorate His Birth or Resurrection. 
The Cross which is alone suitable and appropriate for 
the Festival of Christmas, is the Greek. This form 
is in reality the original cross idealized, and although 
it may be adopted as a Symbol of Christ, it is more 
properly accepted as expressive of the Religion of 
the Cross — to be the emblem of Christianity, rather 
than the sign of the Atonement. 
We mentioned above that, in Christmas deco- 
ration, the Cross need not be made very prominent. 
W e do not wish it to be understood that we consider 
that the symbol should at any time take a secondary 
position. What we mean is that at Christmas, when 
everybody and everything should wear the garb of 
joy and gladness, the cross should not stand forth in 
its severity, but should be grouped with other forms 
which allude to the event we are commemorating. 
The centre design in Plate I. is an example of this 
treatment of the Cross, and it will be observed that 
while the Cross distinctly asserts its beautiful form, 
its interest is divided with the star placed within 
the emblem of eternity, and bearing, as the centre 
of all, the monogram of the Blessed Name of 
JESUS. 
All the varieties of the Greek Cross may be used, 
but the most beautiful and appropriate are the 
Cross Fleurie and Cross Patonce ; the latter is 
shown in Fig. 5, Plate I. ; the former, issuing from 
behind the shield, in Fig. 1. It will be observed 
that the arms of the Cross Patonce gradually spread 
outwards from the point of junction, while those of 
the Cross Fleurie remain straight, until near their 
