er than in
his use of adjectives; and that he fought against self-indulgence in
writing just as he did in daily life. His sermons have the same quality
of self-restraint. His private letters are fresh and simple, and contain
many unaffected epigrams; in writing of religious subjects he resolutely
avoided dogmatism without ever sacrificing precision. The dean was a man
of genius, whose moral stainlessness and instinctive fire were indicated
rather than revealed by his writings.

See _Life and Letters of Dean Church_, by his daughter, M.C. Church
(1895); memoir by H.C. Beeching in _Dict. Nat. Biog._; and D.C.
Lathbury, _Dean Church_ (1907). (A. C. BE.)

CHURCH (according to most authorities derived from the Gr. [Greek:
kyriakon [doma]], "the Lord's [house]," and common to many Teutonic,
Slavonic and other languages under various forms--Scottish _kirk_, Ger.
_Kirche_, Swed. _kirka_, Dan. _kirke_, Russ. _tserkov_, Bulg. _cerkova_,
Czech _cirkev_, Finn, _kirkko_, &c), a word originally applied to the
building used for Christian worship, and subsequently extended to the
Christian community (_ecclesia_) itself. Similarly the Greek word
_ecclesia_ ([Greek: ekklesia]), "assembly," was very early transferred
from the community to the building, and is used in both senses,
especially in the modern Romance and Celtic languages (e.g. Fr.
_eglise_, Welsh _eglwys_, &c).

(1) _Church Architecture._--From the strictly architectural point of
view the subject of church building, including the development of the
various styles and the essential features of the construction and
arrangement of churches, is dealt with elsewhere (see ARCHITECTURE;
ABBEY; BASILICA). It is, however, impossible to understand the
development of church architecture without realizing its intimate
connexion with that of the doctrine, organization and ritual of the
Christian Church as a religious community, and a brief sketch of this
connexion may be given here by way of introduction to the more technical
treatment of the subject. In general it may be said of church
architecture, more truly than of any other, that artistically it is
"frozen music." It is true that at all times churches have been put to
secular uses; in periods of unrest, as among the Nestorian Christians
now, they were sometimes built to serve at need as fortresses; their
towers were used for beacons, their naves for meetings on secular
affairs. But as a rule, and especially in the gr