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S., 10, 1915, pp. 203, 253, 259, 716. H. E. IVES and M. LUCKIESH.-"Subtractive Production of Artificial Daylight." Elec. World, May 4, 1911; Lond. Illum. Engr. 4, 1911, p. 394. BASSETT JONES.-"Lighting of Allegheny County Soldier's Memorial." Trans. I. E. S., 6, 1911, p. 9. "Mobile Color and Stage Lighting." Elec. World, 66, 1915, pp. 245, 295, 346, 407, 454. L. A. Jones.—“Color of Illuminants." Trans. I. E. S., 9, 1914, p. 687. F. PARK LEWIS.-"Psychic Value of Light, Shade, and Color." Trans. I. E. S., 8, 1913, P. 357. M. LUCKIESH.-"Light and Art." Light. Jour., Mar., 1913, April, 1914; Lon. Illum. Engr., Mar., 1914; Internal. Stud., April, 1914; Gen. Elec. Rev. April, 1914; Amer. Gas Inst., 8, 1913, p. 783; Good Lighting, May, 1912. "Color and Its Applications." New York, 1915. "Light and Shade and Their Applications." New York, 1916. "The Language of Color" (in preparation). "Color Photometry." Elec. World, May 16, 1914; April 19, 1913; Mar. 22, 1913. 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Engr., 2, 1909, p. 472. M. F. WASHBURN, D. CLARK and M. S. GOODELL.-"Effect of Area on Pleasantness of Colors." Amer. Jour. of Psych., 22, 1914, p. 578. N. A. WELLS.-"Affective Character of Colors of Spectrum." Psycho. Bull., 7, 1910, p. 181. R. S. WOODWORTH.-"The Psychology of Light." Trans. I. E. S., 6, 1911, p. 437. "Color Photometry" (Research Com. Rep.). "Lighting of Cleveland Art Loan Exposition." P. 1332. Trans. I. E. S., 9, 1914, p. 505. "The Lighting of Pictures." Elec. Rev. and W. E., Jan. 17, 1914, p. 137. Report on the Lighting of the Cleveland Museum of Art, Trans. I. E. S., 11, 1916, p. 1014. CHURCH LIGHTING REQUIREMENTS BY EMILE G. PERROT From the very beginning light has played a most important part in the life of the world; shut out light from any living thing-plant, brute or man, and part of life itself is taken away. As light is necessary to the fullness of physical life, in like manner the spiritual life of man craves as its perfection, spiritual light. The old law prescribed a seven-branch candlestick as part of the sacred treasures to be kept before the eyes of the people; when Christ came he voiced the need of men's souls when he proclaimed: "I am the Light of the World." As a symbol of Him, the Light of the World, the early Christians lit candles in the dark chambers of the catacombs; symbols these lights were indeed, but they served the added purpose of illumination. So then, the architect, whether designer of lofty cathedral or lowly church, must consider light both symbolic and illuminant. In the early centuries of Christianity, the use of a multitude of candles and lamps was undoubtedly a prominent feature of the celebration of the Easter vigil, dating, we may believe, almost from Apostolic times. Eusebius speaks of the "pillars of wax" with which Constantine transformed night into day, and other authors have left eloquent descriptions of the brilliance within the churches. The number of lamps which Constantine destined for the Lateran Basilica has been estimated at 8730. The practice of providing immense hanging coronoe to be lighted on the great festivals seems to have lasted throughout the Middle Ages and to have extended to every part of Christendom. We, in these days of brilliant artificial light, cannot easily realize what unwonted splendor such displays imparted to worship in a comparatively rude and barbarous age. To these magnificent chandeliers various names are given, for example, cantharus, corona, stantareum, pharus, etc. Such works of art were often presented by emperors or royal personages to the basilicas of Rome. Much more remarkable, however, are the remains of some magnificent metal work on a vast scale. The great candelabrum of Reims was preserved until the French Revolution. It was no doubt meant to stand before the high altar in imitation of the great sevenbranch candlestick of the temple of Jerusalem. Its height was over eighteen feet and its width fifteen. No less wonderful, and happily still entire, is the great candelabrum of Milan, commonly known as "The Virgin Tree." This chef-d'œuvre of twelfth-century art is also a seven-branch candlestick and over eighteen feet in height. With such great standing candelabra as those of Reims and Milan, we may associate certain large chandeliers still preserved from the eleventh, twelfth, and thirteenth centuries. Those of Reims and Toul perished in the French Revolution. But at Hildesheim we have a circular corona of gilt copper suspended from the roof and dating from 1050, twenty feet in circumference and bearing seventy-two candles. That at Aix-la-Chapelle is still larger and still more remarkable for the artistic beauty of its details. While as a splendid specimen of later medieval work is that still preserved in the church of Aerschot, Belgium, at least until recently. As an example of a beautiful and at the same time unique candelabrum, that in the church of Leau, Belgium, is extremely interesting, combining a lectern with the candelabrum. The chapel of the Hotel des Invalides, Paris, represents a very fine type of candle lighting, with two rows of chandeliers. The Madeleine at Paris is also a specimen of the same method of lighting. In the early days the candle was the only illuminant, and in Roman Catholic Churches it is still required by the rubrics to be burned on the altar during Mass and other ceremonies. In the advance of science, however, religion caught the benefit and flooded its churches with the imprisoned sunlight let free from oil and coal. When later electricity was employed, religion seized the new light to serve its purpose. That we may understand the "raison d'etre" so to speak, of symbolism in the church, it will be well to consider briefly the subject of symbolism in art and the principles which underlie it, and which give it the importance it deserves. Art does not produce the real; it merely implies or suggests the real by the use of certain signs and symbols which have been recognized as equivalent. If, for example, we wish to bring to the mind of another the thought of water, we do not bring a glassful and place it before the person; we simply use the word "water," a word of five letters, which bears no resemblance or likeness to the real article, yet brings the original to mind at once. |