Dedicated to Recording and Preserving Church Art and Architecture
and Examining the Connection between Art and Faith.

• The artist creating liturgical art does not have the luxury of an “either you get it or you don’t” mentality. The finest liturgical art is not created in arrogance by an individual who tries to bleed for Christ, but rather in humility by a person who realizes that Christ bled for him. (Quoted from CHRIST IS THE LIGHT OF NATIONS: Considering the Lay Artist’s Role in the Church in Terms of
  the Dogmatic Constitution on the Church: Lumen Gentium)

• If a stained glass window can become a tool for God’s constant call to conversion, then it is a good and valuable servant of the Church. Conversion is an ongoing process in which one experiences God’s love and mercy and by that experience is called to even deeper conversion. (cf. Dives in Misericordia, Article 13) This call to conversion is properly answered by God’s faithful by a growth in holiness; it is an ongoing process that ends only at the end of one’s life, and then judgment.  (Quoted from Stained Glass as a Vehicle for Spiritual Growth Among the Faithful in the Post-Second Vatican Council Catholic Church.)

• Someone with an understanding of theology and iconography would have little difficulty going through the many windows of Immaculate Conception and picking out specific details, such as the roses in the Annunciation window or the lily, symbolic of Mary’s virginity, in that same window. Even details such as Gabriel’s breastplate and its significant 12 jewels can be clearly read, but there is one story told by the windows that might not be so apparent at first glance. (Quoted from The Cathedral of the Osage.)