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Ecclesia and Synagoga, or Ecclesia et Synagoga in Latin, meaning "Church and Synagogue" (the order sometimes reversed), are a pair of figures personifying the Church and the Jewish synagogue, that is to say Judaism, found in medieval Christian art. They often appear sculpted as large figures on either side of a church portal, as in the most famous examples, those at Strasbourg Cathedral. They may also be found standing on either side of the cross in scenes of the Crucifixion, especially in Romanesque art, and less frequently in a variety of other contexts.[1]
The two female figures are usually young and attractive; Ecclesia is generally adorned with a crown, chalice and cross-topped staff, looking confidently forward. In contrast, Synagoga is blindfolded and drooping, carrying a broken lance (possibly an allusion to the Holy Lance that stabbed Christ) and the Tablets of the Law or Torah scrolls that may even be slipping from her hand.[2] The staff and spear may have pennants flying from them. In images of the Crucifixion, Ecclesia may hold a chalice that catches the blood spurting from the side of Christ; she often holds the chalice as an attribute in other contexts.[3] Attributes sometimes carried by Synagoga include a male sheep or goat or just its head, signifying Old Testament sacrifice, in contrast to Ecclesia's chalice which represents the Christian Eucharist. The Ram also signifies alleged Jewish lustfulness and supposed Judaic focus on the flesh, in contrast to the Lamb, signifying the importance of the spirit in Christianity. In turn, Synagoga's female vulnerability and blindness suggest a raped woman and untrustworthiness. If not blindfolded, Synagoga usually looks down.[4] Other elements suggest defeat. Ecclesia has an earlier history, and in medieval art Synagoga occasionally appears alone in various contexts, but the pair, or Ecclesia by herself, are far more common. Further subjects where the pair may sometimes be found are the Tree of Jesse, and the Nativity.[5]
The figures of Ecclesia and Synagoga are sometimes traced to the influence of the 5th-century Altercatio Ecclesiae et Synagogae, a Latin dialoge from Roman Africa.[6] The first appearance of such figures in a Crucifixion is in a historiated initial in the Drogo Sacramentary of c. 830, but though Ecclesia already has most of her usual features already present, the figure representing the Jews or the Old Covenant is here a seated white-haired old man.[7] The pair, now with a female Jewish partner, are then found in several later Carolingian carved ivory relief panels of the Crucifixion for book covers, dating from around 870,[8] and remain common in miniatures and various small works until the 10th century. They are then less common in Crucifixions in the 11th century, but reappear in the 12th century in a more strongly contrasted way that emphasizes the defeat of Synagoga; it is at this point that a blindfolded Synagoga with a broken lance becomes usual. The figures continue to be found in Crucifixions until the early 14th century, and occur later in various contexts but are increasingly less common. The surviving portal figures mainly date from the 13th century.[9]
- ^ See Schiller's Index, or Chapter III, pp. 31–66, in Schreckenburg
- ^ Michael, 42
- ^ Schiller, II, 159
- ^ Schiller, II, 112
- ^ Schiller, I, 17, 19, 73–76
- ^ Hillgarth, p. 3n, lists authors who have advanced this hypothesis. Weber, p. 73, expresses doubt.
- ^ Rose, 9; Schiller, II, 110; Rose,9
- ^ Rowe, 52, says there are seven late Carolingian ivory book covers, which she discusses, 57–59
- ^ Schiller, II, 110–112; Schreckenburg, 31–34; Rose, 9-11