Note 4-30 — Chapter IV
Reading edition
The most authentic foundations of the Purgatorial scheme in art-teaching are in the renderings, subsequent to the thirteenth century, of the verse "by which also He went and preached unto the spirits in prison," forming gradually into the idea of the deliverance of the waiting saints from the power of the grave.
In literature and tradition, the idea is originally, I believe, Platonic; certainly not Homeric. Egyptian possibly—but I have read nothing yet of the recent discoveries in Egypt. Not, however, quite liking to leave the matter in the complete emptiness of my own resources, I have appealed to my general investigator, Mr. Anderson (James R.), who writes as follows:—
"There is no possible question about the doctrine and universal inculcation of it, ages before Dante. Curiously enough, though, the statement of it in the Summa Theologiæ as we have it is a later insertion; but I find by references that St. Thomas teaches it elsewhere. Albertus Magnus developes it at length. If you refer to the 'Golden Legend' under All Souls' Day, you will see how the idea is assumed as a commonplace in a work meant for popular use in the thirteenth century. St. Gregory (the Pope) argues for it (Dial. iv. 38) on two scriptural quotations: (1), the sin that is forgiven neither in hôc sæculo nor in that which is to come, and (2), the fire which shall try every man's work. I think Platonic philosophy and the Greek mysteries must have had a good deal to do with introducing the idea originally; but with them—as to Virgil—it was part of the Eastern vision of a circling stream of life from which only a few drops were at intervals tossed to a definitely permanent Elysium or a definitely permanent Hell. It suits that scheme better than it does the Christian one, which attaches ultimately in all cases infinite importance to the results of life in hôc sæculo.
"Do you know any representation of Heaven or Hell unconnected with the Last Judgment? I don't remember any, and as Purgatory is by that time past, this would account for the absence of pictures of it.
"Besides, Purgatory precedes the Resurrection—there is continual question among divines what manner of purgatorial fire it may be that affects spirits separate from the body—perhaps Heaven and Hell, as opposed to Purgatory, were felt to be picturable because not only spirits, but the risen bodies too are conceived in them.
"Bede's account of the Ayrshire seer's vision gives Purgatory in words very like Dante's description of the second stormy circle in Hell; and the angel which ultimately saves the Scotchman from the fiends comes through hell, 'quasi fulgor stellæ micantis inter tenebras'—'qual sul presso del mattino Per gli grossi vapor Marte rosseggia.' Bede's name was great in the middle ages. Dante meets him in Heaven, and, I like to hope, may have been helped by the vision of my fellow-countryman more than six hundred years before."