Ecclesia and Synagoga

Ecclesia and Synagoga, meaning "Church and Synagogue" in Latin, are two figures that represent the Church and Judaism. They often appear together in medieval Christian art, such as on church doors or beside scenes of the Crucifixion.

Ecclesia is shown as a confident woman wearing a crown and holding symbols like a chalice and cross-topped staff. In contrast, Synagoga is often blindfolded, looking down, and carrying broken items like a lance or the Tablets of the Law. These symbols show how medieval Christian artists viewed the Church as strong and victorious, while Judaism was seen as defeated.

The idea behind these figures comes from old stories and artworks from many centuries ago. They first appeared in the 9th century and became popular in the 12th and 13th centuries, showing the differences between Christianity and Judaism in a powerful way.

Background in literature

The relationship between the Church and the Synagogue was talked about for a long time, shaping how they were shown in art later on. Famous thinkers like Augustine helped form these ideas, often comparing the old teachings to new ones. Over time, stories grew where the Synagogue was sometimes shown as blind or lesser, while the Church was seen as the true partner. These ideas came from old tales and were used in art and stories across Europe.

Meaning

The figures of Ecclesia and Synagoga, meaning "Church and Synagogue," were common in medieval Christian art. They represented the Christian belief that Jesus was the Jewish Messiah and that Judaism was no longer needed once Christianity began. Synagoga was often shown blindfolded, symbolizing the idea that medieval Jews did not "see" this truth. She was sometimes shown in a fallen position, with a broken staff or a slipping crown, to show her defeat. In contrast, Ecclesia was shown standing upright, representing victory.

These figures were often placed on the sides of church doors or near crosses in scenes of the Crucifixion. They were mainly found on big cathedrals in northern Europe, especially in places with many Jewish people. While they had religious meaning, they also served to remind Jews of their place in Christian society. Over time, the way these figures were shown became more hostile, reflecting growing tensions between Christians and Jews.

Examples and distribution

You can find figures representing the Church and the Jewish synagogue on many old cathedrals. Some places where they appear include Minden, Bamberg, and Freiburg Minster in Germany, as well as Notre Dame de Paris and Metz in France. In England, bits of these figures remain at Rochester, Lincoln, and Winchester cathedrals, even though some were damaged or destroyed over time. There are also paintings and stained glass images at York Minster and Canterbury Cathedral.

Sometimes these figures appear in fun and unusual ways. For example, at Erfurt Cathedral, there is a carved seat showing the two figures jousting on horses, with the Church winning in a light-hearted scene.

Ecclesia alone

The idea of Ecclesia, representing the church, appeared long before it was paired with Synagoga. Early Christian art sometimes showed the church as the Bride of Christ, a beautiful queen. This idea was linked to the Virgin Mary, with some art blending her image with the church.

One of the oldest examples is found in the apse mosaic of Santa Pudenziana in Rome, created between 402 and 417. Here, two female figures stand behind apostles, placing wreaths over Saints Paul and Peter. These figures are thought to represent different groups within the Early Christian Church: one for people from non-Jewish backgrounds and one for Jewish backgrounds. Similar figures might also appear in another mosaic at Santa Sabina in Rome, though some parts are now missing.

Wise and Foolish Virgins

Some medieval art showed the story from the New Testament called the parable of the Wise and Foolish Virgins using the ideas of Ecclesia (the Church) and Synagoga (the Jewish synagogue). This meaning the Church and Judaism. One clear example is in a Darmstadt book called the Speculum Humanae Salvationis, made around 1360. In this book, the main virgins from each group look like Ecclesia and Synagoga. The Wise Virgin's lamp turns into a chalice. This way of explaining the story, seeing it as wise Christian virgins and foolish Jewish virgins who missed the wedding, was used in sermons and religious writings for a long time. Some think it might even be in Handel's oratorio Messiah from 1741.

Modern developments

After Napoleon occupied Milan in 1805, he ordered the completion of the façade of Milan Cathedral, including representations of Synagoga and Ecclesia. This showed the legal equality of all religions under the French regime, with Synagoga holding the Ten Commandments and Ecclesia as the Lady of Liberty.

In 2014, Saint Joseph's University in Philadelphia created a sculpture showing both figures in harmony. This was to celebrate the 50th anniversary of the Nostra aetate declaration, which encouraged better relations between Catholicism and Judaism. The sculpture was blessed by Pope Francis in 2015.