Allegory and Symbolism in Christian Art and Architecture
Allegory, in its broadest sense, is a figure of speech where one thing is represented to evoke the representation of another, carrying a meaning beyond the literal [1]. This "twofold sense" involves an immediate, historical understanding derived from the words, and an ultimate meaning signified by those words [1]. Symbolism, closely related, involves the use of objects or actions to represent abstract ideas or qualities. Both have played significant roles in Christian art and architecture, conveying theological truths and narratives through visual and structural forms.
The Apostle Paul himself employed allegory in his epistles. In Galatians, he allegorizes the story of Sarah and Hagar, stating that "these things are an allegory" (Galatians 4:24). John Gill notes that Paul's use of allegory here is more profound than that of Philo the Jew, who also allegorized Sarah and Hagar, making Sarah signify virtue and Hagar the arts and sciences [2]. For Paul, the figures of Hagar, the bondwoman, and Sarah, the free woman, along with their offspring, represent the old covenant of law and the new covenant of grace, respectively [2]. This demonstrates a biblical precedent for interpreting narratives allegorically to reveal deeper theological meanings. However, not every biblical illustration is an allegory; for instance, Paul's illustration of a woman released from the law by her husband's death in Romans 7:2-3 is not an allegory where every element has a theological counterpart, but rather a simple illustration to make specific points about obligation and freedom [5].
In Christian art, symbolism is pervasive, often drawing from biblical imagery and theological concepts. The Temple and the Ark of the Covenant, for example, are presented in Revelation as symbols of God's presence, with the earthly Ark being a copy of a heavenly design (Revelation 11:19; cf. Exodus 25:40; Hebrews 8:5) [3]. This concept of earthly representations pointing to heavenly realities is fundamental to Christian symbolism. Early Christian art, often created in contexts of persecution, relied heavily on symbols to communicate faith discreetly. The fish (ichthys), the anchor, the dove, and the good shepherd are all examples of early Christian symbols that conveyed complex theological ideas without explicit depiction [6]. The fish, for instance, was an acrostic for "Jesus Christ, God's Son, Savior."
Architecturally, Christian churches have historically been designed with symbolic intent, reflecting theological principles. The orientation of churches, often towards the east, symbolizes the expectation of Christ's return, as he is referred to as the "Sun of Righteousness" (Malachi 4:2) and his second coming is associated with the dawn [6]. The cruciform (cross-shaped) layout of many cathedrals and churches is a direct symbolic representation of Christ's sacrifice and the central tenet of Christian faith. The altar, positioned at the east end, symbolizes Christ himself, the sacrifice, and the heavenly banquet [6].
The use of light and darkness in church architecture also carries significant symbolic weight. Stained-glass windows, particularly prominent in Gothic cathedrals, transform natural light into a kaleidoscope of colors, often depicting biblical stories or saints' lives. This interplay of light is not merely aesthetic; it symbolizes divine illumination, the presence of God, and the revelation of sacred truths [6]. The contrast between the often dimly lit narthex (entrance) and the brightly lit sanctuary can symbolize the journey from the darkness of sin into the light of God's grace.
Furthermore, specific elements within church buildings are imbued with symbolic meaning. The baptismal font, typically located near the entrance, symbolizes entry into the Christian community and new life through Christ [6]. The pulpit, from which the Word of God is proclaimed, symbolizes the authority of scripture and the voice of God speaking to the congregation. Even the materials used can be symbolic; stone, for example, can represent permanence and the foundation of faith, while wood might symbolize humanity or the cross [6].
The concept of outward symbols pointing to inward realities is also evident in theological discussions. The Jamieson, Fausset & Brown commentary on Romans 2:28 explains that the name "Jew" and the rite of "circumcision" were intended as "outward symbols of a separation from the irreligious and ungodly world unto holy devotedness in heart and life to the God of salvation" [7]. When these outward signs are accompanied by inward spiritual reality, they are significant; otherwise, they are deemed "worse than useless" [7]. This highlights the understanding that true symbolism in Christianity requires both the external representation and the internal spiritual truth it signifies.
In the New Testament, Jesus himself used parables, which are a form of short allegory with a definite moral [1]. His parables, such as the parable of the fig tree (Matthew 24:32), are not merely stories but convey deeper spiritual truths about the coming of the kingdom of God or the signs of his return [4]. John Gill notes that the parable of the fig tree is an "accommodation" of a similitude, meaning it is used to illustrate a point about the nearness of events related to the destruction of the temple and city, and the coming of the Son of Man [4].
Throughout Christian history, the interpretation of allegories and symbols has been a subject of theological discourse. While some traditions, like the Alexandrian school of interpretation, favored extensive allegorical readings of scripture, others, such as the Antiochene school, emphasized a more literal and historical approach [6]. However, the presence of allegory and symbolism in Christian art and architecture remains a consistent feature, serving as a visual catechism and a means of expressing the ineffable aspects of faith. These visual and structural elements continue to communicate core Christian doctrines and narratives, enriching the worship experience and providing a tangible connection to the sacred.
Sources
- Smith's Bible Dictionary “Smith's Bible Dictionary: Allegory — a figure of speech, which has been defined by Bishop Marsh, in accordance with its etymology as, "a representation of one thing which is intended to excite the representation of another thing." ("A figurative representation containing a meaning other than and in addition to the literal." "A fable or parable; is a short allegory with one definite moral."--Encyc. Brit.) In every allegory there is a twofold sense--the immediate or historic, which is understood from the words, and the ultimate, which is concerned with the things signified by the words. The alle”
- Galatians (Baptist/Reformed) “John Gill on Galatians 4:23: Which things are an allegory,.... Or "are allegorized": so Sarah and Hagar were allegorized by Philo the Jew (p), before they were by the apostle. Sarah he makes to signify virtue, and Hagar the whole circle of arts and sciences, which are, or should be, an handmaid to virtue; but these things respecting Hagar and Sarah, the bondwoman and the free, and their several offspring, are much better allegorized by the apostle here. An allegory is a way of speaking in which one thing is expressed by another, and is a continued metaphor; and the apostle's meaning is, that t”
- Revelation (Protestant academic) “Tyndale House on Revelation 11:19: 11:19 This verse provides a dramatic conclusion to the first half of Revelation and a link to the second half. • In this scene, the Temple and the Ark are symbols of God’s presence; the earthly Ark was the copy of the design of the Ark in heaven (see Exod 25:40; Heb 8:5).”
- Matthew (Baptist/Reformed) “John Gill on Matthew 24:32: So likewise ye, when ye shall see all these things,.... That are mentioned above, relating to the signs of the destruction of the temple and city, and the destruction itself, with all those several things that should directly take place upon it; this is an accommodation of the above parable, similitude, or comparison: know that it is near, even at the doors; meaning, either that "he is near", as the Ethiopic version reads it, the son of man is near, even at the doors; or as the Vulgate Latin renders it, "in the gates", or "doors", and so does Munster's Hebrew Gosp”
- Romans (Protestant academic) “Tyndale House on Romans 7:2: 7:2-3 These verses are not an allegory, in which every element of the story has a theological counterpart. Paul simply cites an illustration to make two basic points: Death can release a person from obligation to the law, and freedom from one relationship can allow a person to establish a new one. Paul applies the illustration in 7:4.”
- CCEL/NPNF (Eastern Orthodox) “John Chrysostom, Homilies on Galatians–Colossians–Thessalonians: called the Macedonian, 328 ; his conquests prophesied of, ib. Alms, adorn the soul, root out covetousness, raise soul toward heaven, bring blessings, assist the dead, 197 ; a help to catechumens, ib. ; measured by the purpose of the giver, 251-52 ; are a sweet savor to God, ib. ; should be given in proportion to the property a person has, 294 ; are a more beautiful clothing than golden ornaments, 307 ; surpassed by thanksgiving and losses, 337 ; giving, relieves one's losses, 338 ; stores for, 338 ; oil of our lamp, 371 ; are for”
- Romans (Presbyterian) “Jamieson, Fausset & Brown on Romans 2:28: he is not a Jew which is one outwardly, &c.--In other words, the name of "Jew" and the rite of "circumcision" were designed but as outward symbols of a separation from the irreligious and ungodly world unto holy devotedness in heart and life to the God of salvation. Where this is realized, the signs are full of significance; but where it is not, they are worse than useless. Note, (1) It is a sad mark of depravity when all that is designed and fitted to melt only hardens the heart (Rom 2:4, and compare Pe2 3:9; Ecc 8:11). (2) Amidst all the inequalitie”