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Extra info for Bede: On the Temple
For the use of the architectural metaphor elsewhere in early insular culture, including the Book of Kells, f 2 0 2 ~ see . Farr 1989, 32-191; O’Reilly 1994. xlvi BEDE: ON T H E TEMPLE usc of thc architectural metaphor in its pictorial exegesis. The various heavenly choirs are depicted as human columns, standing on ‘living stones’ and the opening scene of the Confessors shows the Church supported by St Benedict flanked by Pope Gregory and St Cuthbert. The Benedictine reformers identified themselves with the seventh-century monastic bishops whom Bede descrioes in the HE but his extensive exegesis on the Temple theme may also have been an important influence.
BEDE: ON THE TEMPLE xliv to gather to read the law and the prophets (for Bede says he is aware the primitive Church still practised Jewish customs including Jewish readings in their sabbath celebrations), the converts would receive the principles of life, meaning a more rigorous understanding and practice of the Christian faith. Little by little, they will receive ‘the rules requiring the keeping of mutual love’, a process repeatedly described in De remplo as a movement from the literal precepts of the Law to an understanding of its spiritual interpretation (113).
E. 3). The historical function of the Temple’s structure in delineating areas accessible only to certain categories of people has been quite overturned to reveal spiritual truths about the nature of the universal Church. 4; 1 P 2:9). DE TEMPLO AND THE ECCLESIASTICAL HISTORY There is here no debate over the dating of Easter, the nature of Petrine authority or the rites of baptism and consecration; there is no discussion of synods and councils, the creation of dioceses or the rules of abbatial succession.