The design of a traditional cathedral is theologically based and instructive in the Faith. Though beautiful, its construction is not arbitrary – it wasn’t arranged simply to look pretty. The layout, artwork, statues, and stained glass windows all serve an edifying purpose. 🧵
The plan of a cathedral is cruciform in shape. The north and south transepts (“arms”) represent Christ’s right and left hands on the cross. The entrance at the West end corresponds with His feet; one enters at the foot of the cross and works upward as they approach the altar.
The church is usually oriented eastward – ad orientem. Worshippers are always facing the rising sun, symbolizing Christ rising from the grave. The layout is divided into three parts: the narthex/vestibule for catechumens, the nave for laymen, and the sanctuary for clergy.
Let’s now start at the foot of the cross and work our way up toward the top.
The Western entrance is the "porta coeli," or Heaven’s Gate. This entrance contains three arches representing a triune God. Under these arches are double doors signifying Christ’s dual nature.
Through the porta coeli is the narthex. Traditionally catechumens and penitents could worship here without entering the nave. In the early Church, catechumens and penitents were prohibited from entering the nave until they had been properly catechized or reconciled.
Passing beyond the narthex, the baptismal font sits to greet those entering the nave, symbolizing that communion with the Church is first achieved through the waters of baptism.
The main body of the church is called the nave, deriving its name from the latin "navis," meaning “ship.” Here congregants gather in the “arc of salvation.” As Noah’s Arc was the only way to be saved from the flood, so the Church is the only way to be saved from damnation.
It’s no coincidence that many churches flaunt ribbed vaulted ceilings which resemble the hulls of ships.
To the nave’s sides are confessionals, reminding Christians that the path to salvation requires contrition for one’s sins.
“Confess your sins to one another and pray for one another, that you may be healed.”
Moving toward the top of the cross, a casket of a saint sometimes rests in front of the altar, reminding believers that passing through death is a necessary step in becoming fully united with Christ. Most often, a saint’s relics are placed within the altar itself.
Finally at the back of the cathedral is the altar and tabernacle. The altar is where the sacrifice of the mass occurs, when bread and wine is transubstantiated into the body and blood of Christ, a replication of the Last Supper and Christ’s death on Calvary.
The tabernacle is directly behind the altar, and houses the literal body of Christ, or “Word of God” as precluded in the Old Testament Ark of the Covenant.
Often at the apse, or top of the cruciform, a circlet of radiating chapels represent the crown of thorns on Christ’s head.
The layout is not the only theologically significant aspect of a traditional cathedral. Its stained-glass windows act as a veil between the outside secular world and the inside – what has been set apart from the world.
Like the “Holy of Holies” in Solomon’s temple described in the Old Testament, the inside of a church is veiled from the outside. Stained glass windows create a separation from the secular world to keep the contents within the Church pure.
Statues, mosaics, and paintings help to illustrate important stories in scripture. These images often cover the walls, windows, and ceiling; no space is left bare. This makes it impossible to divert attention away from holy things.
Even if one becomes distracted, their eyes are drawn to the holy images of the Church building, guide one's mind back to God.
The physical aspects of a cathedral aid its congregants in growing closer to Christ by creating an environment rich with Christian symbolism and meaning. Unfortunately, contemporary churches fail to convey much theological significance with their often lackluster designs.
The focus in this thread was on Western churches; Eastern churches have their own rich architectural tradition and symbolism. Thanks for following along!
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But masterpieces like the works of Raphael and Michelangelo were funded by individual egos.
Here’s why it matters…🧵
A major factor in the proliferation of art during periods like the Renaissance was a concept called patronage, where princes, popes, and other influential people provided funds for painters, sculptors, and musicians.
Patronage was how artists made their living—they didn’t receive a steady income unless they were actively creating art.
Patrons would put up the funds for a project—often Church artwork or private commissions for nobility—and the artist would see that project through.
Young Napoleon was bullied by his aristocratic peers.
He was aloof, spoke French with a funny accent, and of low nobility.
But he sought refuge in books — igniting a lifelong obsession. Reading became a “matter of power” for him.
Here’s how books guided his every move…🧵
Author Louis Sarkozy’s work “Napoleon's Library” paints a vivid picture of the emperor as an avid reader, enjoying history, philosophy, religion, and fiction.
His official portraits even reflect his love of reading — he’s often depicted in front of books and libraries.
According to Sarkozy, books were crucial to his early formation and later military acumen:
…they molded his adolescent mind and influenced his statesmanship. They made him the general he would become and accompanied him to his grave.”
Dueling in the West can be traced to pre-Christian practices like the Norse “holmgang”.
A Viking-era duel, the holmgang was a legal way to settle disputes. Whether it was for honor, a legal dispute, or revenge, it was fought regardless of the parties’ social status.
Theoretically, any offended party could challenge the other party to a holmgang, whereafter the duel would be fought a few days later. Sometimes the duel would take place on a small island, or “holm”, where the practice gets its name.
The Ancient Greeks basically invented Western philosophy. 2500 years on and we’re still studying their ideas.
Here are 10 Greek philosophers you need to know🧵
1. Thales, 7th cent. BC
Thales was part of a new generation of thinkers trying to uncover how the cosmos were constructed without relying on the gods as an explanation. An early Monist, he considered a single element to be the main building block of the cosmos.
2. Anaximander, 610 BC
A student of Thales, Anaximander saw the cosmos as ruled by laws, similar to human societies. Any action that disturbed the divine law would fail. He also explored astronomy, tracking the movements of the heavenly bodies, and developed a map of the cosmos.
Kenneth Clark lamented that civilization was a fragile thing.
He observed three “enemies” that could topple even the mightiest cultures — what are they?🧵
The first enemy is fear:
“fear of war, fear of invasion, fear of plague and famine, that make it simply not worthwhile constructing things, or planting trees or even planning next year’s crops. And fear of the supernatural, which means that you daren’t question anything.”
Fear paralyzes a people and stifles adventure, invention, and grand building projects.
The great men of history read intensively — it's how they gained an edge over their rivals.
We can do the same, today.
So here are the classics that influenced the greats, from ancient warriors to modern emperors🧵
Alexander
According to Plutarch, Alexander was given an annotated copy of the Iliad which he carried with him everywhere.
He considered it a “perfect portable treasure of all military virtue and knowledge” and was especially fascinated by the character Achilles.
Marcus Aurelius
Marcus Aurelius was extremely well-read. His tutor Fronto described how the emperor read works of Cato the Elder, Cicero, Lucretius, and Seneca in addition to numerous Greek tragedies.