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THEOLOGY’
FRANCIS CLARK, S.J.
T H E M I R R O R OF R E L I G I O U S FOLKLORE
during the late-medieval period. They have the obvious purport of testi-
fying - if too nayvely at times - to the article of faith that what has the
outward appearance of bread and wine in the Eucharist is in reality the
true body and blood of Christ. Under the stimulus of the Berengarian
controversy and of the consequent reaffirmations of Catholic belief, this
doctrine had become one of the most popular themes of theology and piety.
There was no similarpreoccupation with the doctrine of the sacrificialnature
of the Mass, which was a belief taken for granted and scarcely discussed.
Something more must be said, however, about those earlier legends
which told of a sacrificial slaying seen above the altar. Even though the
legends in question appeared a thousand years before the Reformation
and were in eclipse in the later medieval period, and even though they
were always few in number compared with the usual stories of ‘real
presence miracles’, they evidently demand special attention. They present
objectionable features and do seem to suggest a grossly realistic concept of
the sacrificial action in the Eucharist. Have they any importance in the
history of medieval theology and popular belief?
T H E ‘SACRIFICIAL’ A P P A R I T I O N S
Those ‘sacrificial’ legends took two forms. In the first type, as in the
episode narrated by the Abbot Arsenius, an angel was seen over the altar
during Mass, ritually slaying a child or a youth and pouring his blood into
a chalice, and even dividing his members to correspond to the division of
the host by the priest. In the second form a lamb victim was seen upon the
altar - according to one account, while it was being transfixed by the
blade; according to another, already slain and standing with blood
flowing from its wounds.
The vision of a child victim seen above the altar may have been suggested
by the scene sometimes portrayed by church artists in mosaics above the
high altar, showing Abraham with knife upraised to sacrifice the boy
Isaac. Fine examples of this design, linked with representations of the
Eucharistic altar, have survived in the sixth-century Byzantine mosaics of
Ravenna.’ The angel performing the sacrificial act in Arsenius’ narrative
may have been suggested by the prayer, found in almost all ancient litur-
gies, that the sacrifice of the earthly altar should have its mystical counter-
part or be made effective on high through the ministry of an angel or
angels. (In the liturgy of St Cyril of Alexandria the reference to the angelical
ministry is linked with mention of the. sacrifice of Abraham.*)
There is an illustration in Nelson’s Atlas of the EurQ Christian World (London,
1958), no. 447.
a DACL I, 111.
‘BLEEDING H O S T S ’ AND E U C H A R I S T I C T H E O L O G Y 225
Compared with the vision of the killing and dismemberment of a boy
during the Eucharistic rite, the accounts of an apparition of a lamb stand-
ing slain and bleeding upon a throne would seem to be fairly harmless.
They were doubtless connected with the text of the Apocalypse (5:6)
describing the vision of ‘a Lamb standing as it were slain’. The symbolic
allusion would seem to exclude a crassly realistic interpretation of the
visions. The immolated lamb was, like the sacrifice of Abraham (as well as
the priestly service of Melchisedech and the oblation of a lamb by Abel), a
theme mentioned in the liturgies and represented in church art, especially
in apse mosaics or over the chancel arch. The parallelism between these
prefigurative sacrifices of the old law and the ‘clean oblation’ of the new
was an idea expressed in the liturgies of both East and West.
In one of his homilies St John Chrysostom refers to the sacrifice of the
Eucharistic lamb in his usual graphic language: ‘When the Holy Spirit
bestows his grace, when he comes down and touches the offerings with his
power, when you see the Lamb slain and consumed, how can you behave
tumultuously at that time?” Symbolic visions of a sacrificial lamb at the
altar would not seem strange to the Byzantine mind, accustomed to the
Prothesis ceremony in the Eucharistic rite as it had been elaborated in the
course of the centuries. Unlike those of the West, the Eastern liturgies
had developed a separate rite for the preparation of the sacramental
elements at the beginning of Mass, and had attached to it a detailed and
fanciful imagery. ‘The symbolism reaches an extreme point’, writes
Baumstark, ‘when at the outset of the Prothesis the cutting up of the
bread is considered as a real immolation of the Lamb of God, and is
accompanied by the formula pronounced by the priest engaged in offering
the Sacrifice: “The Lamb of God is being sacrificed.” ” The division of the
bread was performed with a miniature lance, representing that which
pierced Christ’s side on Calvary.
Doubtless the Byzantine writers who repeated the tale of Abbot Arsenius
and the incident recorded in the legendary life of St Basil were not aware of
anything objectionable in these stories. No doubt they thought they were
doing no more than express in pictorial language the teaching expressed by
the Greek Fathers, sometimes in bold hyperbole, concerning the truly
sacrificial nature of the Eucharistic mystery. Yet their crude imagery
could be taken amiss (and was in fact taken amiss by some individuals in
twelfth-century Constantinople’).
1 PG 49, 398.
2 A. Baumstark, Comparative Lifurgy,English edition by F. L. Cross (London, 1958),
p. 132.
3 Cf. M. Jugie, Theologia dogmatica christianorum orientalium, vol. 111 (Paris, 1930),
pp. 321ff.
D
226 FRANCIS CLARK
In the light of all this it is not difficult to mark the essential difference
between those na‘ive legends of the earlier age, telling of a child or lamb
victim, and the later accounts of visions granted to devout persons at
Mass, in which they contemplated the scene of Christ’s sacrifice on Cal-
vary. The new flowering of Eucharistic piety from the eleventh century
onwards was associated with a tender and ever-growing devotion to the
passion of Jesus. Almost every feature of the Mass was now explained as
in some way a symbolic reminder of the passion. It was in this spiritual
climate that occurred the visions, such as that of St Dominic, in which the
sacrifice of Calvary was seen as the mystical background of the Mass. In
these visions Christ on the cross appeared above the altar and was con-
templated, not in a new passion and death, newly inflicted, but in the
Wimder, p. 95.
* For a justification of this statement and for a discussion of the theology of the
Mass from the thirteenth to the sixteenth century I must refer the reader to Eucharistic
Sacrifice and the Reforniation.
‘ B L E E D I N G HOSTS’ A N D E U C H A R I S T I C T H E O L O G Y 227
one saving sacrifice once offered, which in the Mass was commemorated
and made mysteriously present in its saving power.
It was this sublime concept that later medieval art tried to capture when
it depicted the precious blood flowing from the wounds of the crucified
Christ into a Eucharistic chalice held by angels or by a priest. (Sometimes
it was the vision of Christ rising from the tomb that was shown above the
altar.) The representation of the sacrifice of Calvary appearing at the
moment of the offering of Mass remains a favourite subject for Catholic
art even to this day. Another scene sometimes pictured by the late-
medieval artists was that of Christ being ground in a mystic mill to make
the Eucharistic bread, or being pressed in a mystic wine-press with his
blood issuing below and flowing into a chalice.’ Strange though these
latter compositions may seem to us today, the underlying idea is clearly
symbolic, not crassly realistic.
Thc writers and preachers who repeated the miracle stories in the later
middle ages did so, then, to emphasize the truth of Christ’s words: ‘This
is my body ... This is my blood.’ When they narrated that blood had been
seen to flow miraculously from a host they never drew the conclusion that
Christ is therefore sacrificially slain anew in the Mass, but they saw the
miracle as proof from on high that the consecrated host is not mere bread
but the living flesh of Christ. They could imagine no more vivid testimony
to certify that what had the appearance of an inanimate wafer of bread
was in reality the living human tissue of the Lord, than that blood should
issue from it. They were familiar with the scriptural idea that ‘in the blood
is the life’ (Deut 13:23), which was also commended to them on the
scientific level by the authority of Aristotle.* It is also evident from thos e
narratives that the effusion of blood from the sacrament was regarded as
an exceptional and portentous sign, not as a normal consequence of the
offering of Mass. Plausible as the suggestion may seem at first sight, the
tales of bleeding hosts do not after all imply a current belief in a daily
wounding and death of Christ at the altar.
There is no need to discuss here how much was authentic in those
records of Eucharistic marvels, how much was invented or imagined, and
how much was patent of a natural e~planation.~ The relevance of the
lsai 63:l-3 was commonly taken in an applied sense as referring to Christ in his
passion.
Cf. Durandus of Mende (t 1296), Rationale divinorum ojiciorum, IV, 51.17.
The rare phenomenon of ‘blood-rain’ on wheaten bread, starch paste, etc., a chemical
reaction caused by the presence of a certain organism (Bucillusprodigiosus) in the wheat,
has been investigated in recent years. A red secretion resembling blood has been observed
to exude from bread made from wheat so affected. Is it possible that this natural pheno-
menon was the starting point of one or other of the medieval miracle stories? Dr
228 FRANCIS CLARK