The symbolism of architecture is, of course, complex and
wide-ranging. It is founded upon ‘correspondences’ between various patterns of
spatial organization, consequent upon the relationships, on the abstract plane,
between architectural structures and the organized pattern of space. While the
basic pattern of architectural relationships provides the primary symbolism,
secondary symbolic meanings are derived from the appropriate selection of individual forms, colours and materials, and by the relative importance given to the
various elements forming the architectural whole (function, height, etc.). The
most profound and fundamental architectural symbol is the ‘mountain-temple’ (the Babylonian ziggurat, Egyptian pyramid, American teocalli or stepped pyramid, Buddhist stupa). It is based on a complex geometrical symbolism including
both the pyramid and the ladder or staircase, as well as the mountain itself. Some
of this symbolism can also be found in Western religious building, particularly
Gothic cathedrals. Such temples often include essential elements from the mandala
symbolism (that is, the squaring of the circle, through a geometrical diagram
combining the square and the circle, usually linked through the octagon as an
intermediate step) and from the symbolism of numbers (the significant figure
standing for the number of essential factors: for example, 7 is very common in
stepped pyramids; and, in the Temple of Heaven in Peking, 3—the number of
floors—is the basic number, multiplied by itself because of the 3 platforms and
the 3 roofs) (6). The figure 8, as we have seen, is of great importance as the link
between 4 (or the square) and the circle. The Tower of the Winds, in Athens, was
octagonal in plan. The eight pillars of the Temple of Heaven in Peking are another
instance (6). As the cave inside the mountain is an essential element in mountain
symbolism, it follows that the ‘mountain-temple’ would not be complete without some form of cave. In this sense, Indian rock-cut temples are a literal expression of the mountain-cave symbol: the temple actually is the cave cut into the side
of the mountain. The cave stands for the spiritual Centre, the heart or the hearth
(cf. the cave in Ithaca, or the Cave of the Nymphs in Porphyry). This symbolism
implies a displacement of the symbolic centre, that is, the mountain peak of the
world ‘outside’ is transferred to the ‘inside’ (of the mountain, and so of the world
and of Man). The primary belief in the fundamental significance of an external
form (such as the menhir, omphalos or pillar) is replaced by an interest in the
space at the centre of things’, identified as the ancient symbol of the ‘world egg’.
One of the specific symbols of this is the dome, symbolizing also the vault of
heaven (which is why domes in ancient Persia were always painted blue or black).
In this connexion, it is important to note that, in the geometrical symbolism of the
cosmos, all circular forms relate to the sky or heaven, all squares to the earth, and
all triangles (with the apex at the top) to fire and to the urge towards ascension
inherent in human nature. Hence, the triangle also symbolizes the communication
between earth (the material world) and heaven (the spiritual world). The square
corresponds to the cross formed by the four Cardinal Points (6). And, of course,
the pyramid is square in plan and triangular in section. This general symbolism,
however, can be profoundly modified in certain directions by the addition of
powerful secondary meanings or associations. Thus, whereas Christianity comes
to stress the importance of the human individual rather than the cosmos, templesymbolism emphasizes the transcendence of the human figure rather than the contrast between heaven and earth—though the primary meaning can by no
means be ignored. Already in Greek, Etruscan and Roman temple-building, this
symbolic contrast, as well as the symbolism of gradual ascent (as in Babylonian
ziggurats) had become subservient to the concept of a temple mirroring on earth
the division of the heavens into an ordered pattern, and resting on supports
(pillars, columns) which—since they originate from primitive lake-dwelling structures—relate the earth’s surface to the ‘primordial waters’ of the ocean. The
typical Romanesque church combines the symbolisms of the dome, and of the
circle and the square, with two new elements of the greatest importance: the
subdivision of the main body of the building into nave and two aisles (symbolic
of the Trinity) and the cross-shaped plan, derived from the image of a man lying
prostrate with his arms outstretched whereby the centre becomes not man’s
navel (a merely symmetrical division) but his heart (at the intersection of nave
and transept), while the main apse represents the head. As indicated above, each
architectural element contributes to the general symbolism. Thus, in Gothic architecture, the symbol of the Trinity occurs repeatedly in triple doors, trefoiled,
scalloped and pointed arches. The ogive in itself is nothing but a triangle with
curved sides, with all the specific implications of triangle-symbolism outlined
above (14, 46). The flammigerous arch, as the name indicates, is a symbol of fire,
and it would be possible to see in the formal evolution of 15th-century Gothic a
return to the apocalyptic meanings which were so important in Romanesque
iconography (46). Jambs, pillars and side columns can be interpreted as ‘guardians’ of the doorway. Porches are the external counterpart of the altar-piece
which, in its turn, is—as it were—the ‘programme’ set up in the heart of the
temple. Cloisters also possess cosmic and spiritual implications. On the cosmic
plane, and regarded as a spatial expression of a period of time, they stand for the
cycle of the year, and by analogy, for the life-span of Man. The correlation is as
follows: North-East side of the cloister—October December; North-West—January/March; South-West—April/June; South-East—July/September. The four
divisions of the year (or of the human life-span of which it is an analogical image)
are further correlated to the four phases of a ritual cycle of healing (or salvation):
the first phase—death, danger and suffering; second phase—purifying fire; third—
cure; fourth—convalescence (51). According to Pinedo, the South side, whence
the warm winds blow, pertains to the Holy Spirit, inspiring the soul with the fire
of charity and divine love; the North side, exposed to the cold winds, pertains to
the devil and his insinuations that freeze the soul (46). As regards one of the most
characteristic features of Gothic cathedrals—the twin frontal towers—Schneider
points out that they are related to the two peaks of the Mountain of Mars (with its related symbols of the Gemini, Janus and the number 2), while the dome over
the intersection of the nave and transepts stands for the Mountain of Jupiter (or
unity). Paradise is above the platform and Hell (represented by the gargoyles)
beneath. The four supports, pillars or piers which subdivide the façade and
determine the location of the three doorways are the four rivers of Paradise. The
three doors stand for faith, hope and charity. The central rosette is, the Lake of
Life, where heaven and earth meet (sometimes it also stands for heaven, towards
which the apex of the triangular ogive points) (50). Attempts have also been made
to define the probable allegorical significance of other parts of the architectural
fabric of the cathedral. Thus, according to Lampérez, the church walls stand for
humanity redeemed; the counterforts and flying buttresses for uplifting, moral
strength; the roof for charity and shelter; the pillars, for the dogmas of the faith;
the ribbing of the vaults, for the paths of salvation; the spires, for God’s finger
pointing to the ultimate goal of mankind. It will be seen that the special symbolic
meanings here are obviously related to the appearance and functions of the various architectural elements. Two further facts should also be mentioned: the ‘degraded’ interpretation suggested by psychoanalysts whereby every building is
seen as a human body (doors and windows— openings; pillars—forces) or spirit
(cellars—subconscious; attics— mind, imagination)—an interpretation arrived at
on an experimental basis; and the possibility of elaborating increasingly complex
systems by combining a number of symbolic principles. Kubler, in his Baroque
Architecture, analyses the case of Fr. Giovanni Ricci who, following the example
of his mannerist forerunners Giacomo Soldati and Vincenzo Scamozzi, endeavoured to develop a new ‘harmonic’—or ideal—architectural order, by integrating
the existing systems (Tuscan, Doric, Ionic, etc.) into a scheme whereby each
different mode was related to a specific temperament or to a certain degree of
holiness (Plate III).