Both ancient Israel and the Christian Church have always given careful consideration to the buildings in which the faithful gather to worship God. From God’s detailed instructions to Moses in the Book of Exodus for constructing the Tabernacle, to the two-volume Instructiones Fabricae Ecclesiasticae of St. Charles Borromeo, the idea that God deserves fitting worship in a sacred space has been an enduring principle of the faith.
However, Christians in the last century have likely argued about how to build a church more than ever before. Rivaling the Iconoclast Controversy of the eighth century and the Protestant Reformation of the 16th century, the 20th-century discussion, influenced by the Liturgical Movement and the Second Vatican Council, represents a wide variety of opinions on church architecture. An emphasis on authenticity and denouncing a “mere sumptuous display” in architecture has been a hallmark of the reform. Influential 20th-century authors like E. A. Sovik argue for a complete rejection of art in churches, claiming that it serves as a distraction for the assembly at worship. Other more contemporary voices, especially Pope Benedict XVI and Bishop Robert Barron, argue vehemently that churches must be places of beauty for the sake of evangelization.
Dominican Father Lawrence Lew contributes to the conversation in his book, Entering Heaven on Earth: The Signs, Symbols, and Saints of Catholic Churches. The title itself conveys his opinion that church buildings are to be an image of heavenly realities, and his goal is to provide various explanations of what one might see when entering a Catholic church. Though Father Lew is clearly a learned man, his work is not presented in an academic way. The author expressly desires his book to be more than a resource. His published words and photographs are presented as an invitation to discover the beauty of church architecture, which has the power to evangelize and transform hearts.
Means to an Eternal End
Lew begins his survey in a characteristically Thomistic way by considering the end or teleology (final cause) of sacred art and architecture. His reflection begins with the Mass as the most readily observable reason for the existence of sacred architecture and then considers the church building as a foretaste of the heavenly banquet. He unites both dimensions in this conclusion: “A church is built for the worship of God, for that human and divine action of the liturgy wherein heaven and earth meet” (13). His launching point is punctuated by his own invitation to the reader to wonder and discover. This invitation stems from his personal experience of being inspired by the beauty found in sacred art and architecture.
In the subsequent chapters, Lew considers the formal cause of church buildings. He begins with the external form: a church may be identified among other buildings by elements such as domes, spires, towers, forecourts, gardens, main doors, and by its very shape, which often resembles a cross. He then addresses some areas common to most church buildings, namely the narthex, the baptistery, and confessionals. In each of these short examinations, he effortlessly weaves together diverse perspectives, quoting scripture, saints, and theologians, to explain the significance of each element. The method might be described as mystagogic: beginning with what we see and exploring connections that can be readily made with the help of the Bible, quotes from saints, or etymological research to unveil the mystery. This method continues as he reflects on the meaning of color, itself an image of the “beauty of creation restored by the grace of Christ” (36). Likewise, Lew examines the interior elements of the church, which house the ekklesia, the gathered assembly, and orient it to the altar.
The investigation into the formal cause finds its climax in a reflection on two essential elements of a church: the altar and the tabernacle. The altar is appropriately cited as the reason for building the church: “The two are so intrinsically linked that Saint Cyprian would say that if the altar is absent, then the building is not a church” (60). With this, Lew affirms that the altar is the architectural element sine qua non and so agrees with the notion of Liturgical Movement reformers. Lew also addresses the tabernacle, reaffirming that its presence in the church is appropriate and necessary on both theological and historical grounds. While he does not address the post-conciliar controversy regarding the location of the tabernacle in relation to the altar, he engages the conversation by artfully weaving the historical development with biblical citations and theological reasoning.
Powered by Art
Part I serves as a foundation for the book’s main content. Having established why church buildings exist and how they are arranged in a meaningful way, Lew can examine what he is most passionate about, namely, the power of art in churches to delight and inspire even those who have little faith. Lew reflects on his own experience as a college student. Along with many of his non-practicing friends, he would marvel at a beautiful church and the intricate complex of symbols. This led him to research the meaning of each of these symbols—a search which brought him delight and which he earnestly desires to share with the reader. More importantly, Lew recognizes the evangelistic power of beauty as the via pulchritudinis toward God. “I pray that this exploration of church architecture and the symbols of sacred art and the saints will inspire you to read and understand the Bible more deeply and to examine the lives of the saints and to befriend them” (72).
Lew wishes to address an obstacle to the via pulchritudinis: contemporary man is less and less able to engage with symbol. Inspired artists, past and present, convey the beauty of the divine through symbolic representation. This approach permits the viewer to enter heaven on earth and facilitates an encounter with the divine, but only if he can decode the symbols. This is the pattern of creation, as Lew articulates, and so it is our task as humans to learn how to decode the symbols found in creation to reach the divine mind.
If we continue to examine Lew’s book under the paradigm of Aristotelian causes, the remainder of the book articulates the necessary relationship between the efficient and the material causes of a church building as a participation in the divine act of creation through which man is led back to God. Church architecture evokes a connection with God, just as nature does. However, one must be attentive to recognize this link. Lew urges readers to appreciate this power of beauty, warning against those who “worshiped the creature rather than the Creator” (Romans 1:25).
Lew accomplishes his goal by systematically listing several different symbols and depictions one might find in church architecture and providing a brief, mystagogical description of each. These entries begin with individual symbols, divided first into living and non-living creatures. Living creatures depicted in art, such as birds, deer, flowers, and sheep, each convey a message of creation that is communicated to the viewer. Lew even addresses some more obscure living symbols, such as the dolphin, the gryphon, the monkey, and the green man. Likewise, non-living creatures, such as the crown, the shell, and the star, are all alphabetically ordered in these entries.
Moving from simple to complex, Lew then helps the reader understand entire scenes depicted in church art. The author takes the position that divine revelation found in sacred scripture has historically been communicated through the means of artistic depiction. The pairing of images from the life of Christ with Old Testament types is the most proven way to convey this revelation of salvation history. Scriptural scenes are found in churches as a “biblia pauperum,” Bible for the poor, since when many older churches were built, their populations were largely illiterate. On a broader scale, depictions of scripture, saints, sacraments, and even theological dogmas convey the beauty of the Christian life, inspiring the viewer to live it more faithfully.
Positive Identification
Lew begins each scriptural entry with a direct biblical quote or a summary, providing historical context like the oldest instance of a depiction or its common period. Major characters are identified by their attire, posture, and expressions, which convey the story and evoke viewer reactions. For instance, Lew helps identify Moses: “he is sometimes shown holding the tablets of the law, but…in the Middle Ages, he came to be portrayed with two shafts of light or even two horns coming from his head” (148). He explains the origin of this idiosyncrasy: “cornatum” in the Vulgate can mean both “his face shone,” and “he had horns.”
Lew masterfully cites various patristic, medieval, modern, and contemporary commentators to support his entries throughout. Likewise, he draws upon the Church’s liturgical expression, which explains, for example, why candles are often depicted in the scene for the Presentation of the Lord in the Temple (126).
The richness provided by the author notwithstanding, the entries are accessible as he avoids long block quotes or overly complex theological explanations. A charming quality to these descriptions is the author’s personal enchantment and interest in particular elements. For example, Lew admits, “I delight in the older medieval depictions of the Ascension in which one sees only two feet stick out of the clouds as the apostles look up, for Our Lord has been taken out of their sight” (137). This candor helps balance the density of information with levity and personality, so that the entries do not feel merely encyclopedic.
Lew reflects on the depiction of God himself, addressing an ancient concern that images of God are improper. He sides with St. John Chrysostom, concluding, “images of God are right and just and fitting, and they honor the Incarnation of Christ that we depict God-made-Man…” (156). He also provides helpful commentary on essential patterns of depictions of God, such as the use of halos, the controversy surrounding the depiction of the Father, the various forms of depicting God the Son, and a brief section on the Holy Spirit. The angels and sacraments are described similarly.
One particular section that showcases Lew’s own curiosity and his ability to connect with all readers is his exploration of why angels are often portrayed with wings. Lew explains that angels are not usually described as having wings in the Bible. However, most people still picture angels with wings. He provides helpful quotes from early Church Fathers and cultural context to clarify this commonly accepted idea that many Christians overlook.
The book’s final sections discuss the depiction of saints, with Lew noting their significance in Catholic churches for inspiring devotion. He offers a guide to identifying images of Mary, the apostles, and evangelists, as well as explaining the clothing styles and symbols associated with various saints. Lew even addresses some rather obscure symbols. For example, the otter is often depicted with St. Cuthbert of Lindisfarne because, according to tradition, the saint blessed the otters who warmed his feet (224). Ultimately, these extensive lists help the viewer who is hoping to identify a particular image of an unknown saint.
Building Beauty
Lew concludes the book with an epilogue supporting his claim that beauty in churches is necessary. Citing Benedict XVI, the author notes that the Christian life is meant to be beautiful, and the church building is itself a representation of that ideal. This claim effectively counters a minimalist or utilitarian view of church architecture, which is often a temptation. Such views have even been exalted by 20th-century authors, such as the above-mentioned E. A. Sovik, and even at one time enshrined in US norms by the Bishops’ Committee on the Liturgy in their 1978 document Environment and Art in Catholic Worship. (The American bishops have since updated their views on sacred architecture in their 2000 document, Built of Living Stones: Art, Architecture, and Worship.)
Lew is undoubtedly successful in making his case for having beautiful art in churches. His exposition and explanation of the various symbols make it seem natural and necessary for churches to include a variety of artistic depictions that invite people into a deeper faith. His style is accessible since it serves both as a manifesto of sorts, and a resource for the reader.
The publication could be improved by including an alphabetical index, which would make the book more navigable for research purposes. If someone saw a rooster in an image, for example, and wanted to know from this book what it might signify or reference, it would be difficult to locate Lew’s entry on page 87. An alternative solution would be to publish a companion reference book or digital resource that arranges all the entries provided by Lew alphabetically. Lew or other contributors might even expand this publication.
A review of Lew’s book would not be complete without addressing the real star of the publication: the photographs taken by the author himself. The quality, quantity, variety, and arrangement of the photos are undoubtedly impressive. He has a talent, honed through many years of practice, to communicate the captivating beauty of church architecture. I sincerely hope that he continues to photograph and publish his work. This versatile book can find a home on both the academic shelf and the coffee table. Hopefully, it is found in the hands of many who wish to be inspired by the beauty found in their parish church, their diocesan cathedral, or a basilica across the world.
