Dictionary of Subjects and Symbols in Art
by James Hall
APPLE: By tradition, but not by scriptural authority, the fruit of the Tree of Knowledge, perhaps a borrowing by early
Christian artists from the classical image of the golden apple tree of the Hesperides; hence a symbol of the Fall of Man
and, when held by the infant Christ, an allusion to his future mission as Redeemer. An apple in the mouth of an APE
has a similar meaning. Golden apples are the attribute of VIGILANCE personified, and of the harpies that accompany
AVARICE. They are picked up by a maiden overtaken by a running youth. A golden apple was thrown down into the
BANQUET OF THE GODS, and was later awarded by Paris to Venus. The apple is an attribute of VENUS. Apples
are the attribute of the THREE GRACES, the handmaidens of Venus and, with roses in a basket of DOROTHEA.
CHALICE: The traditional vessel, usually of gold or silver, holding the consecrated wine at the celebration of the
Eucharist. The use of a cup was sanctioned by Christ’s words at the LAST SUPPER. ‘Then, he took a cup, and having
offered thanks to God he gave it to them; and they all drank from it’ (Mark 14:23). In representations of this theme it
generally stands on the table, perhaps in an aureole. The chalice, especially with the Host (the consecrated wafer) is the
symbol of the Christian faith, more particularly of the Redemption. In scenes of the CRUCIFIXION one or more angels
each hold a chalice into which flows the blood from Christ’s wound; or a figure personifying the Church receives the
blood in a similar manner.
CRUCIFIX: The image of Christ on the cross, usually carved or modeled, and used as an object of public and
private devotion. CRUCIFIXION: The death of Christ on the cross is the central image in Christian art and the visual
focus of Christian contemplation. The character of the image varied from one age to another reflecting the prevailing
climate of religious though and feeling; expressing doctrine by means of symbols and allegory, as in medieval art; or,
as in Counter-Reformation painting, serving as a simple aid to devotion by portraying nothing but the solitary figure
on the cross; or again, narrating the gospel story in a canvas crowded with people, as in the work of Italian
Renaissance artists. …..the subject as a whole lends itself to symmetrical treatment, and there is a marked tendency
towards the use of figures in pairs, one balanced against the other on either side of the cross, for example the Virgin and St. John the
Baptist.
GLOBE: or orb, held in the hand of a monarch, signified his sovereignty over the world. It was first used thus by the
Roman emperors. In the Christian era, surmounted by a cross it was one of the insignia of the Holy Roman Emperors
and of English kings since Edward the Confessor. In religious art it may be held by Christ as SALVATOR MUNDI,
or by GOD THE FATHER. The latter may rest his feet on a terrestrial globe. The globe is widely distributed among
personified virtues, the liberal Arts and some pagan divinities, signifying their universality. It is an attribute of
TRUTH, especially from the 17th century of FAME, of ABUNDANCE and, with scales and a sword, of JUSTICE. The feet of
PHILOSOPHY may rest on a globe.
LAUREL: Of the varieties of laurel the small-leaved Laurus nobilis, the bay, was that from which the victor’s
CROWN was made. It is the attribute of APOLLO. A maiden, laurel brushes sprouting from her arms, is Daphne.
A grove of laurels grows on the top of PARNASSUS, the home of the Muses. In portraiture, a laurel bush or branch
implies that the sitter is a literary or artistic figure. The laurel bush was an impresa of Lorenzo de’ Medici, with the
motto ‘Ita ut virtus’, -- ‘Thus is virtue’, i.e. evergreen.
THE NINE MUSES: The goddesses of creative inspiration in poetry, song and other arts; the companions
of Apollo. They were the daughters of Jupiter and the Titaness Mnemosyne who had lain together for nine
consecutive nights. The Muses were originally nymphs who presided over springs that had the power to
give inspiration, especially Aganippe and Hippocrene on Mount Helicon and the Castalian spring on Mount
PARNASSUS. The latter eventually became their accepted abode. Thus fountains and streams often
feature in pictures of the Muses. In time their number was established as nine and each acquired her sphere
of influence over learning and the arts. Their attributes, particularly their musical instruments, are liable to
change at different periods, making identification difficult; in the 17th and 18th centuries some may be
without attributes. The most constant are the globe and compasses of Urania and Euterpe’s flute. From the
17th century, the attributes given in Ripa’s Inconologia were generally followed: Clio (Muse of History):
BOOK, SCROLL, or TABLET and stylus; occasionally a SWAN; from 17 th century, the book may be ‘Herodotus’ or ‘Thucydides’
(ancient Greek historians); laurel CROWN; TRUMPET. Euterpe (music, lyric poetry), flute, often double or occasionally
TRUMPET or other instrument; from 17th century, her hair garlanded with flowers. Thalia (comedy, pastoral poetry) SCROLL; small
violin, more rarely other instruments; from 17 th century, MASKS. Melpomen (tragedy): HORN; tragic MASKS, from 17th century,
SWORD or DAGGER; CROWN held in hand; SCEPTRES lying at feet. Terpsichore (dancing and song): VIOLIN, LYRE, or other
stringed instrument; from 17th century, often a HARP; crowned with flowers. Erato (lyric and love poetry): TAMBOURINE, LYRE,
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more rarely a TRIANGLE or VIOLIN; occasionally a SWAN; from 17th century a PUTTO at her feet. Urania (astronomy): GLOBE
and COMPASSES; from 17th century crowned with circle of stars. Calliope (epic poetry): TRUMPET; TABLET and stylus; from 17 th
century, BOOKS (Iliad, Odyssey, Aeneid); holds laurel CROWN. Polyhymnia (heroic hymns): portative ORGAN, more rarely a
LUTE or other instrument.
SNAKE: or serpent—a symbol of evil and a biblical synonym for Satan, ‘the serpent of old.’ But the snake also
signified fertility, wisdom and the power to heal, and entered into the religious rites of early peoples, being
worshipped by some as a god. The Latin word draco signifies both snake and DRAGON and both represent evil in
Christian art. The image of SATAN embodies dragon-like features and his limbs may be entwined with snakes. The
VIRGIN MARY treads on a serpent to signify the vanquishing of sin, or, in baroque art, Protestantism.
TRUMPET: The straight trumpet, the Roman tuba, is the attribute of FAME. She sometimes has two, a long and a
short. It is occasionally the attribute of the MUSES Calliope, Euterpe and, from the 17th century, Clio, the Muse of
History. Trumpets are blown by angels to announce the LAST JUDGMENT, and at the day of wrath.
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Sacred Colors:
Black: the universal color of death and primordial darkness; it can represent mourning and sin.
Blue: spirituality, grace, and truth.
Gold: often stands for God’s glory.
Green: the universal color of life and hope; some Christian churches use green during the Trinity and Epiphany seasons. It can be
considered to be the color of faith, the Trinity.
Purple: represents penance in the Roman Catholic Church.
Red: it can represent sacrifice and pain; in Roman Catholic liturgy, red is worn in memory of Christ’s Passion.
White: symbolizes innocence and purity.
Yellow: represents joy.
--------------------------------------------------------------Miscellaneous Symbols:
Emblem of the Habsburg Family Dynasty
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