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Like a mystical tome awaiting to be deciphered, a Gothic cathedral holds many secrets about the soul's yearning for God. In Heaven in Stone and Glass, Catholic priest and professor of theology at Mundelein Seminary in Chicago teaches us how to read these secrets, with beautiful reflections on aspects such as light and darkness, the labyrinth, the meaning of gargoyles and demons, and the imagery of vertical space. whether you are preparing for a pilgrimage to York Cathedral of Notre Dame in Paris, or looking ahead to inspirational bedside reading, this book is the perfect guide.
- Sales Rank: #472256 in Books
- Published on: 2002-04-01
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x .41" w x 5.38" l, .39 pounds
- Binding: Paperback
- 128 pages
Most helpful customer reviews
26 of 26 people found the following review helpful.
A refreshing meditation
By Michael F. Tamara
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.
8 of 8 people found the following review helpful.
When churches told stories
By Jeri
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.
7 of 7 people found the following review helpful.
Stone, Glass, Intelligent Commentary, and a Good Book
By James E. Egolf
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. Contemporary 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
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