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Heaven in Stone and Glass: Experiencing the Spirituality of the Great Cathedrals

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I am a seminarian where Fr. Barron teaches and have had some of his courses. He is an excellent instructor, pastor, and priest, but more importantly he is one of the best communicators around. He can convey with passion and brevity in two minutes what it would take others twenty; he is exciting and inspiring, chracteristic of a good witness to the faith. I feel blessed to have him as a part of my formation. He tackles theological issues with a fresh and unique perspective. Heaven in Stone and Glass is no exception. Not many books may ever have been written about the distinct (and sorely overlooked) spiritual dimensions that Gothic cathedrals convey. Joseph Campbell, in The Power of Myth, once said that while in France, Chartres Cathedral is his sacrament; it puts him in touch with the Divine like nothing else. That is the point of Gothic; to make you awestruck, humble and kneeling before the Almighty. Travel to any cathedral in Europe or Washington National Cathedral in D.C. and you immediately understand; it is the numinous, the religious feeling, the experiential wonder of which Schleiermacher wrote; it is the Mysterium Tremendum of which Otto wrote. It is to make you feel like a child before God; small and lost in praise walking in the lofty, incense-filled rarified interiors of these cathedrals. It is to put us in our place before the grandeur of God like no other. It could be argued that this is what true religious experience is, of which Gothic cathedrals afford us. Perhaps that is what, in part, Jesus meant when He said we had to become child-like unto the Lord. That is the point of Gothic. This is what Bob Barron was on to. This could come in very handy as we continue to deal with the loss of the sacred in general in the modern world as well as the inexplicably bad taste in music, art, liturgy, and architecture that is prevalent in too many of our churches, that has the propensity of turning many inquirers to the faith off. Get this book, share it with others, and keep it in your prayer and the treasure of your heart.

Robert Barron's enlightening little book explores the rich symbolic world of medieval cathedrals. Written as a series of fifteen meditations, "Heaven in Stone and Glass" approaches the cathedral as an intentional evocation of both Christian belief and the Christian journey. Barron's observations are rich in metaphor and allusion. His images are strongly drawn: the nave as womb, cruciformity as a way of the cross for all entrants, verticality as an invitation to transcendence, the rose as music of the spheres. He is also a voluminous reader, citing sources as diverse as the Desert Fathers, Dante, Flannery O'Connor, and Alisdair MacIntyre.

One criticism though. Despite his deep knowledge of cathedrals and their meaning, Barron misstated a few architectural details. Mostly notable was his contention that the flying buttress (not the pointed arch) was the architectural breakthrough that made brilliant illumination possible. But don't let this lapse deter you from enjoying this excellent book.

Fr. Barron's book is truly a small gem. Very compact and readable yet extremely spiritual and philosophical, it gets right at the heart of the very essence of the great cathedrals. Simply looking at their form, though very beautiful in itself, is not enough without completely immersing oneself in the mentality and spirit of the people who built them. This rich mentality is in sharp contrast to the agnostic hedonism that resulted from the Enlightenment. As an architecture student, it gives me great hope that, as he points out in the book, we are in an age when people are becoming increasingly interested in spirituality and symbolism and long for a reality deeper than the profane and the mundane. Given the spiritually and architecturally impoverished and overall pathetic nature of most Catholic churches built in the past three decades, this meditation is like a candle in the dark, not only harkening back to a time when everyone knew that God was the center of the universe, but inspiring hope that that time will one day return. In short, this is an excellent book that I recommend to everyone.

Fr. Barron's book was used in the course on the church and the arts at my seminary; the course strives to connect various aspects of art, architecture, music, etc. into the spiritual life of the church - this book fulfills that purpose admirably. It is an extended meditation upon humanity's link with God, using the idea and image of the Gothic cathedral as the central icon or focus upon which this meditation is based.

His analysis is erudite and wide-ranging, drawing upon his own experiences and reflections, as well as references past and present in the greater corpus of Christian and intellectual traditions. For example, in the chapter on Virtues and Vices, Barron flows easily from Aquinas to Flannery O'Connor (both of whom are frequently reference throughout the text); in other places, he incorporates Bertrand Russell and Pythagoras on mathematics, Tillich's idea of the ground of being, Rahner's idea about the incomprehensibility of God, the theologies of Augustine and Teilhard, Dorothy Day and the Desert Fathers. The ideas incorporated here include those of this world and of other worlds, drawn together into harmony and unity, while still retaining aspects of particularity.

Barron looks at particular aspects of the cathedral, drawing both on the physical and emotional responses one might get being in a cathedral. There are architectural and artistic features of cathedrals designed to deliberately evoke certain responses, symbolic of the status and relationship of human beings to God and the heavens. This includes the darkness upon entering, the verticality and light of the high windows, and even the very shape of the cathedral itself. `The building itself is a cross,' Barron writes; `as we walk through it, admiring its variegated faces and aspects, we are, unavoidably, walking through a cross.'

Barron explores the design features such as tall walls, flying buttresses, and cruciformity, as well as the artistic features such as rose windows, labyrinths, gargoyles, and the exterior facades. Elaborate in detail and polyvalent in interpretative possibility, the Gothic cathedral includes elements for people of differing educational levels and backgrounds, seeking to be a place where all of humanity could come together as one before God. `There are indeed no greater shrines to a spirituality of the earth than the Gothic cathedrals produced by the medieval mind.' These churches were intended both as portals to heaven as well as a foretaste of heaven.

This is a short book - indeed, I was able to read it in one sitting. Part of this was due to the engrossing nature of Barron's writing; it is easy to get swept away into the spiritual heights and depths of his descriptions and narrative flow. Each brief essay can stand alone (just as one might focus upon a particular aspect, such as praying the labyrinth in a cathedral), but like the cathedral, it is the combination of all the aspects taken together that makes it truly remarkable - there is a comprehensive vision that forms from Barron's meditation. This is a book that calls for repeated readings, and shall accompany me the next time I visit a cathedral.

This is a good resource for those interested in architecture and churches, as well as those who want a rather unique way of thinking about spiritual growth and representations in the world. Nonetheless, Barron is quite definite in his conviction that the Gothic cathedral, however remarkable a construct, is still a place that needs the life of the people around it for its true fullness to come into being; `if the cathedral is a body, then the liturgy - both celestial and earthly - is its soul.' The worship of the church always looks beyond itself, even in the midst of such splendour.

Cathedrals are monoliths of faith gone by; sacred geometries that tower above cities and towns throughout Europe. Cathedrals are now major attractions for tourist groups, projects for endless restorations and museums of meditation.

In "Heaven In Stone and Glass", Father Robert Barron (a Catholic priest and professor of theology) has brought together a readable devotional, that combines a heavy dose of fundamental theology with a brief pragmatic explanation of how and why the Great Cathedrals were built as they were.

But be apprized that this text is really a devotional that uses cathedrals as the illustration for Father Barron's homilies. Robert Barron spent years in France and uses the Cathedrals of Notre-Dame and Chartres as his architectural examples, but these cathedrals are applicable to the propensity of cathedrals throughout the world Some readers may quail at the conservative theology that Robert Barron promotes. He states that we must come to grips with the fact that we are sinners "disoriented, lost, desperately in need of a guide". And that the church is the ark of our salivation "as long as we sinners stay in the confines of the church, we will make our way to the light." However, if this is not your spiritual belief, don't take flight, for Robert Barron's writing is as engaging as it is opinionated.

I read this while visiting the great Nidaros Cathedral in Trondheim, Norway, and I highly recommend that you read it while visiting a Cathedral. This book can add meaning to your next cathedral experience while providing a strong devotional base. It is evident that cathedrals hold stories of salvation to those who can read them as a metaphor. They are "symbolic manifestations of a spiritual universe that cannot be seen" and much more than stone and glass. Robert Barron has written an engaging devotional and useful guide. Recommended

In a world in which the majority of the people are illiterate, how do you teach?

The medieval mind saw everything as being symbolic of God's relationship to mankind. The great cathedrals of Europe became teaching tools, as well as reflections of the relationship between man and God.

In essence, the churches were built to tell the story of God and mankind. They were symbolic of all of mankind's journey to God.

The great cathedrals were saturated with light. It poured and glittered through stained glass. Stained glass created heavenly light.

The cathedrals were typically built in the form of a cross. That was because Jesus' death on the cross the the center of the narrative between God and man.

In the churches, "we...find evocations of the cosmos...or the zodiac...{for} as the spheres turn, they produce an inaudible harmony...that provides the foundation for all earthly music" (pp 49-50).

Some of the cathedrals, like Chartres, have elaborate labyrinths. These designs were not meant to be merely seen. But walked. "The pilgrims probably walked the path on their knees" leaving the pilgrims with a sense that, even through all the turns and twists of life, we all on on a journey. And that the journey would end with God.

When you look around at modern buildings, it is amazing to think of how much we have lost. As one wag put it, our skyscrapers look like the box the building came in.

This book is the door that opened me to the appreciation of Medieval arts from the eye of one who counts the past as a great heritage. People these days often think of the Medieval days with a certain sense of despise. We forget that we see a bigger world than the Medieval people did because we are standing on their shoulders. While we may know more about this world, we have much to learn from their understanding regarding the world yet to come, because spiritual truths are timeless. Spiritual truths aren't about how many angels standing on a pinhead. This book brings the spirituality of this ancient heritage vividly to life. Being a protestant myself, I certainly benefited greatly from it, because church history did not begin from the Reformation.

Heaven in Stone and Glass is another excellent book by Fr. Barron. Once again he has been able to find a refreshing way to marry traditional religious practices/beliefs with the post-modern need for spirituality to take us beyond simple traditional practice. He provides us with an understandable vision of the function and focus of the architects who created these beautiful and elaborate edifices which glorify God. I recommend this book both for individuals and for small group studies.

As this reviewer told some friends, he is on a Father Barron Binge. The undersigned does not claim to be the Great Know-It-All, but he recognizes knowledge, clarity of expression, and careful reflection. Father Barron's books appeal to the learned and those not so learned. Only those who are intellectually numb and spiritually dead will not appreciate Father Barron's work.

The book titled HEAVEN IN STONE AND GLASS began with a contrast between a dull, boring, and violent world and Medieval world in which men and women were more intensely religious. Contemporay men and women are immune to the physical world. Yet, Medieval people were impressed with religious icons, plants, animals etc. as part of God's Creation. The Medieval Cathedrals were places that told stories and were places of refuge for protection from violence, plague, and other human tragedies. The Cathedrals were places of renewal as well as refuge. Once parishoners left Mass, they were renewed to restore what was wrong. Father Barron alluded to The Virgin as The Mother who offered protection and solace, and the Cathedrals were often dedicated to the Virgin.

As readers may know, the icons and stained glass windows told stories of biblical events, parables, lives of the saints, etc. Most parishoners were not literate at least in the Latin language, and readers should note vernacular literature was becoming "in vogue" which meant men and women were not completely illiterate. As an aside some of the Medieval vernacualar literature had serious religious overtones.

As readers should know, Medieval cathedrals showed vivid colors. Father Barron mentioned that upon entering some of the Medieval cathedrals, parishoners were in darkness which was a contrast from the outside light. This was by design, and Father Barron stated that Catholics were aware of their dark mundane and perhaps evil lives which were dark. Yet, as parishoners and tourists continued their journey, they were gradually introduced to light via the stained glass windows, open areas, etc. The Medieval cathedrals were reminders of a much more glorious "otherness" than the here-and-now. Father Barron made mention of the hard work involved in building these magnificent cathedrals. Lords, ladies, "common" people, etc. worked together in silence and comaraderie knowing they were involved some sort of sacred work.

As noted above, the stained glass windows were part of the religious experience. Father Barron made special mention of the Rose Windows which were arranged in a circle depicting "the ebb-and-flow" of life. The Rose Windows showed tragedy and joy with Christ at the center to remind viewers of Ultimate Joy. Father Barron gave a good explanation of the mathematical proportion of the Rose Windows or what Medieval historians called The Sacred Geometry.

Father Barron not only described the inside of the Medieval cathedrals, but he carefully decribed what could be called the Cruciformity of the Cathedrals which can only be described from above. The design was arranged as though parisoners and tourists were "walking through the Cross." The lesson is that love of others and Divine Love should be the structure and foundation of our mortal lives.

Father Barron's chapter title "Cosmic Consciousness" started by a comment that Cathedrals were not designed to make men and women "feel at home." Shopping malls, markets, etc. are supposed to fill this function, but Medieval cathedrals were designed to make attendees think they were entering another world-"or a better world" Men and women were supposed to escape superficial egomania and reflect on a better world. Those who could not do so were trapped by their burdens of false pride, greed, lust, etc. The Medieval cathedrals raised eyes upwards and then beyond the here-and-now. Too many modern men and women have no sense of awareness of stars, sun, etc. They have no awareness of what is beyond the immediate.

One of the lessons taught in the Medieval cathedrals was The Last Judgement. Father Barron desribed the windows and icons which taught this lesson and reflected on Christ's admonition in Matthew 25. The west side of Medieval cathedrals showed designs out of proportion because of sin and evil. The east side which faced a rising sun showed light and an ordered Cosmos.

As noted above, the icons in cathedrals showed heroes from the Christan Bible (Old and New Testaments) which obviously included the Hebrew Bible or what Jewish people called the TANAK. While some Catholics were anti-Jewish, many of the Hebrew Prophets are honored and dignified by the windows, art, and icons. The pictures of these icons were an indication of the connection between the Old Testament and New Testament which was the intent of the architects and planners of these cathedrals.

Father Barron not only wrote about the height and upwards emphasis of Medieval cathedrals, but he had a short but succinct explanation of the crypts. Underground areas were often the "stuff" of legends and folklore. All kinds of evil beings inhabited these areas, but the crypt had another meaning. Father Barron wrote that crypts could be The Virgin's womb and, later, Christ's burial place. In other words, darkness has its place in religious thinking.

Neither the Medieval Churchmen nor Father Barron claimed that the cathedrals were replicas of paradise. They were uplifting in that often attention was drawn up to the sky (both inside and outside of the Medieval Cathedrals). In other words, God was "something greater."

While the cathedrals were serious reminders of the Faith, they also has their "comic relief." Father Barron wrote that the Gargoyles were a reminder that "the-high-and-mighty" could be mocked and teased because they thought they were important, but they were not above humor and parady. Father Barron showed the Medieval sense of humor which should be a part of life.

The cathedrals were a road to Ultimate Truth. Father Barron's depiction of the Maze in Chartre Cathedral is interesting. Pilgrams would follow the small maze in circular paths which took time. Father Barron's message was that the quickest road was not always the best road to find Christ. This reviewer was impressed that Father Barron could write so profoundly about such a small area in Chartre Cathedral.

The section titled Sacred Geometry was facinating. The Medieval Scholastics studied mathematics and geometry to instill the concepts of harmony, balance, reason, etc. The precision of the designs and plans of the Medieval cathedrals was impressively described by Father Barron.

Catholicism is a religion that must deal with vices and virtues. These are explained by Medieval artwork. Father Barron explained that the great Scholastic St. Thomas Aquinas (1225-1274) thought his work as useless UNLESS it encouraged a way of life in line with the Gospel. The vices and virtues are simply rules of life. Father Barron had an excellent explanation of Prudence which is NOT safety and NOT a cowardly attitude of not being involved. Prudence is the virtue that helps men and women decide what is good vs evil, and moral decisions may require careful thought rather cowardly retreat.

The Medieval cathedrals were places where the Holy Mass was celebrated. The arrangement of the Medieval cathedrals was condusive to spiritual reflection and focus on the Liturgy and Eucharist. Father Barron briefly but effectively explained the Liturgy which should enhanced a better understanding for those not aware of the Holy Mass or Catholics who take the Holy Mass for granted.

The Medieval cathedrals were uplifting and areas of learning. A nun was asked what her response would be to those who claim that Catholic churches are too ornate and not somber. She replied that she could not say via TV what she thought. However, biblical literature is full of color, imagery, etc. For example, The Book of Revelation has very colorful depictions. The icons, art, architecture, etc. are to make men and women more fully aware of the Faith.

The undersigned has a few criticisms of the book titled HEAVEN IN STONE AND GLASS. Father Barron should have included an index and a bibliography. He could have made effective use of Henry Adams' book titled MONT SAINT MICHEL AND CHARTRES which is great book re Medieval architecture, literature, and Scholastic Theology. Adams had an excellent chapter in this book re St. Thomas Aquinas, and Father Barron knows so much about Scholastic thought. In spite of these criticisms, Father Barron wrote an excellent book which will only incite this reader to read more of his work.

James E. Egolf

Decmeber 11,2011