One of my hopes for the cultural renewal is the revival of a Christian form of geometric patterned art. With this in mind I have done my best to study past work, and try to discern the principles that underlie its creation. I wrote about resources that help in this respect in a previous article, here.
If tasked with the design of an ornate sanctuary floor now, for example, how might one go about it? One approach, which was used by the Cosmati craftsmen of the middle ages was to have a large design for to fill the whole shape and then to infill with a variety of different geometric patterns. The Cosmatesque style is named after the Cosmati family which, over several generations, developed this distinctive style of work. If they were covering a large area, such as a whole church floor, they worked on three scales. For the grand form they tended to compartmentalize into rectilinear shapes. Then the sub-form would be a geometric design consisting of faceted polygons or interconnected circles. The final stage would be an infill of with very small repeated regular geometric shapes such as squares, triangles of hexagons (which are the three forms that can put together without creating gaps).
Cathedral of Sessa Aurunca, 13th century
One of the sub-forms is called the ‘quincunx’. This the generic name for the arrangement of five equivalent shapes that has four arranged symmetrically around the fifth which is centrally place. The five dots on dice, for example, are in a quincunx shape. I understand the name comes from the Latin for five-twelfths, a coin of this fraction value of the currency had this name and often had this arrangement of dots on it.
In the context of geometric patterned art, it is the shape of four smaller circles spinning of larger secondary one was not limited to the Cosmati craftsmen. It is seen in both Eastern and Western Churches and across many centuries. I am going to be setting my class at Thomas More College of Liberal Arts the task of designing and drawing a church floor based upon this design later this term.
In some respects the quincunx can be thought of as the geometrical equivalent of the traditional image of Christ in Majesty. Around the central image of the enthroned Christ we see four figures representing the four evangelists carrying the Word to the four corners of the world. I have read (St Irenaeus' Against Heresies, writing in the 2nd century) that one of the reasons that the Church settled on four gospels was to emphasis this symbolism. The quincunx also symbolizes Creation, as the number four represents the cosmos. The symbolism is of, again the four corners of the world - Christ himself spoke of the 'four winds'; and the four ‘elements’ of the ancients from which all matter is comprised. These elements are fire, water, earth and air. In modern science the word element has come to mean something more specific than this I am remembering discussions of the periodic table in chemistry classes). However, this does not necessarily invalidate the symbolism. To my mind they still symbolise very well, I feel the phases or states by which modern science categorises matter – solid, liquid, gas and energy (or alternatively plasma).
In his book on the Westminster pavement, which is the one example of Cosmati work in England, Richard Foster suggests that the inscriptions indicate that rather that signifying Creation, the quincunx signifies the final end. That is, rather than emanating from God, all is returning to God.
