Jack and the Fallen Giants - A Childrens Story by Jonathan Pageau

From our friend Jonathan Pageau comes the latest in an acclaimed and growing series of fairy tales, written by Jonathan and beautifully illustrated by Elouise Scherrer.

In the storytelling tradition older than the Brothers Grimm comes Jack and the Fallen Giants. This numinous retelling of a beloved classic allows modern readers to reclaim the beauty of this well-beloved fairy tale through insightful storytelling and iconic illustrations. Like all great fairy tales, Jack and the Fallen Giants is written to be enjoyed by children but contains hidden treasures for readers of all ages.

Eloise Scherrer beautifully illustrates the book. As a young artist, Eloise was deeply inspired by the works of J.R.R. Tolkien and has spent her career giving shape and color to the best of European fantasy literature. Her attention to depth, textures, movement, and light creates whimsical and vivid illustrations that draw the reader into a realm of enchantment and imagination.

Order from the Symbolic World website: https://store.thesymbolicworld.com/

Tales for Once and Ever
Tales for Once and Ever is a series of eight interlocking fairy tales working towards a symphony of storytelling. With repeating themes and patterns in both story and illustrations,  with recurring characters and situations that always honor the source material, this series is an invitation to dive back into a lived experience that is expressed in all of our folk and fairy tales. The Brothers Jacob and Wilhem Grimm did not write down anything "new" when they collected and published their stories in 1812. Rather, their publications preserved a tradition that related a lived experience through symbols.
This series is a return to an ancient storytelling style, a way to partake of the lived experience our ancestors were sharing in their homes, with their families, and in their communities long before modern times. This series also enhances that renewed story experience with striking illustrations that are invented alongside the narrative in a way that invites us — even implicates us — in the symbolic landscape through details that have always been hiding there in these ancient stories — like breadcrumbs — all along.

Order from the Symbolic World website: https://store.thesymbolicworld.com/

Vol 1 - Snow White and the Widow Queen
Vol 2 - Jack and the Fallen Giants
Vol 3 - Rapunzel and the Evil Witch (Spring 2025)
Vol 4 - The Valiant Little Tailor (Fall 2025)
Vol 5 - Sleeping Beauty (Spring 2026)
Vol 6 - The Boy and the Giant (Fall 2026)
Vol 7 - Rumplestiltskin (Spring 2027)
Vol 8 - Cinderella (Fall 2027)

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Praise for the first volume, Snow White and the Widow Queen.

"Fairy tales are meant to delight, and Snow White is one of the most treasured of that tradition. Now we can be doubly delighted by the reimagining of the legend by a masterful storyteller, Jonathan Pageau. Accompanied by the luminous illustrations of a gifted artist, Heather Pollington, the traditional tale has been transformed into a magical synthesis of word and image. Snow White and the Widow Queen presents a thrilling and mysterious take on the classic, mingling the rudiments of fairy with the greatest myths ever told. This retelling of the beloved fairy tale is sure to please readers of all ages, leaving children and adults spellbound."

- Robert Jackson, Executive Director, Great Hearts Institute

A new Symbolic World Store

In launching Jack and the Fallen Giants, we are also introducing the New Symbolic World store, where other books, prints and merchandise are offered, including the GodsDog series, a series of graphic novels exploring Biblical epic in a way that has not been seen before.  Essays on Symbolism, like The Symbolism of Snow White and The Secrets of Godsdog are also available there.https://store.thesymbolicworld.com/

Christ the King of Glory - Rex Gloriae

The Cross is the Glory of Christ

As we approach the Sunday of Christ the King, I thought I would feature the award-winning Crucifixion painted by the English Catholic artist Martin Earle. This choice may surprise some who are expecting an image of Christ Enthroned, such as the one at the foot of this article (also by Martin Earle). I chose this Crucifixion because the artist decided to entitle it Rex Gloriae—King of Glory—a title that I think is wholly appropriate.

This wonderful painting hangs in the Cathedral in Aberdeen, Scotland. It is painted in egg tempera on a gessoed wooden panel. It is two-sided, with the same image repeated on each side. This allows it to be hung over the altar so that both the congregation and those in the sanctuary will see the image as they worship. 

It encapsulates Salvation History in five images, representing Christ's life, passion, death, resurrection, and ascension into heaven. 

First, in the main picture, we see the inscription Rex Glo, which stands for Rex Gloriae, the King of Glory. This draws our attention to the Kingship of Christ commemorated in the Church on the Solemnity of Christ the King, the last Sunday before Advent. Christ was crucified precisely because he claimed to be a king, and Pilate wrote the inscription "Jesus of Nazareth, King of the Jews" (not shown on this cross but often represented by the first letters of the Latin version, INRI). Pilate wrote this to give legal justification for his execution of an authority who might be perceived as a threat to Roman rule.

As Christians, we know that Christ was always king by his divine nature as the Son of God, and he became king by his victory over death and suffering through his crucifixion and now by a nomination from an earthly authority. Accordingly, in the creed, we profess that Christ is king because of his divine nature as "God from God and Light from Light" and because he was "crucified under Pontius Pilate."

Accompanying Christ are Mary the Mother of God and St John the Evangelist on the left, and on the right, in accordance with the Gospel of John, we see Mary Magdalene and Mary, the wife of Clopas. The male figure on the right is the soldier who pierced Jesus' side with a spear, fulfilling Zechariah's prophecy:

And I will pour out on the house of David and the inhabitants of Jerusalem a spirit of compassion and supplication, so that, when they look on him whom they have pierced, they shall mourn for him, as one mourns for an only child, and weep bitterly over him, as one weeps over a first-born. (Zechariah 12:10)

This centurion is the soldier who came to us in tradition as St Longinus, recognised Our Lord as the Son of God in an act of faith. Tradition identifies this figure as Longinus, who became a bishop and saint in the early Church. From the pierced side flow blood and water, symbolising the Eucharist and Baptism. 

Considering now the minor images: 

On the left is the Nativity, which reminds us of the life of Christ and the mystery of the incarnation and of Mary, the Mother of God, who gave him his humanity. As a point of interest, the stable is portrayed as a cave in a mountain. This reflects the actual local topography and is a visual reference to a prophecy in the Book of Daniel in which the King Nebuchadnezzar of Babylon had a dream and Daniel, his counsellor, was called to interpret:

“You watched while a stone was cut out without hands, which struck the image on its feet of iron and clay, and broke them in pieces….Inasmuch as you saw that the stone was cut out of the mountain without hands and that it broke in pieces the iron, the bronze, the clay, the silver, and the gold—the great God has made known to the king what will come to pass after this. The dream is certain, and its interpretation is sure.” (Dan 2:34, 45)

The mountain is traditionally interpreted as the Theotokos, and Christ Himself is the stone ‘cut without hands’. This language alludes to the perpetual virginity of the Theotokos. For example, an ancient hymn in the Byzantine liturgy which draws on the traditional teaching of the Church says:

We exalt you, O Theotokos, crying out, “You are the mountain out of which, in a wondrous way, a stone was hewn that crushed the gates of Hades.” (Orthros, Friday, Tone 4)

Below the central figure is the skull in a cave, a reference to Golgotha - 'the place of the skull' - where Christ was crucified, and to his descent to Hell for three days after his entombment by which he freed Adam and Eve and the souls. The cave in this part of the cross echoes the cave which was the stable in the nativity scene. One is the place of his birth, the other of his death. The white swaddling clothes in the nativity scene also become an anticipatory sign of his future death when he will be wrapped in a shroud. The heavenly Christ - in the Ascension then has a brilliant white outer garment, which is the transfigured garment, indicating that not just the person but of all creation - animate and inanimate - participates in the redemption offered to us.

On the right, we see the myrrh-bearing women who came to the tomb and found it empty, and an angel told them of the resurrection. 

Finally, we see the Ascension, when Christ, having appeared to the Apostles, ascended to heaven and took his place at the right hand of the Father.

Why Beauty Matters

And Art for Art’s Sake is Anti-Human

The purpose of art and the role of beauty in the culture have been subjects of ongoing debate. While some view art as existing purely for its own sake - ‘art for art’s sake’ - divorced from any broader utility or message, others argue that art must serve a didactic or ideological function. The traditional Christian perspective, however, offers a distinct understanding that avoids these extremes, and the result is art for God's sake, which, if done well, will always be art for our sake too.

The interior of St Mark's Cathedral Venice: Is this art for art's sake, or art for God's sake?
(Rob Hurson, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons)

Central to the Christian view is recognising the profound unity of the material and spiritual dimensions in the human person. As beings composed of both body and soul, humans possess material and spiritual needs. Consequently, the purpose of art cannot be reduced solely to aesthetic considerations or purely practical or ideological aims. Rather, true art must harmonise these aspects, reflecting and serving the totality of human nature, material and spiritual.

This understanding is rooted in Christian anthropology, which sees beauty not as a superfluous addition to an object's utility but as an integral part of its purpose. When an object is truly beautiful, its beauty is seen as a sign that its purpose is in accord with God's governance of the world—a reflection of divine inspiration or the beauty of Creation itself.

Take, for example, something as mundane as a toothbrush. While its primary purpose is the practical one of cleaning teeth and promoting bodily health, a well-designed toothbrush incorporates elements of beauty that speak to a broader understanding of human well-being. Its harmonious design serves its practical function and invites the user to consider the more profound implications of oral hygiene for overall health and spiritual vitality. While few will consciously contemplate such things when brushing their teeth (least of all first thing in the morning or last thing at night!), most of us, even with something as simple as a toothbrush, would not choose an ugly one in preference to a beautiful one, given the choice. This means that they are accepting the invitation of beauty at some level.

This principle is even more evident and more important in works of art with a direct spiritual or liturgical purpose, such as sacred art or architecture. In these cases, beauty plays a crucial role in elevating the human spirit and facilitating the contemplation of the divine. For instance, the beauty of a cathedral is not merely an aesthetic embellishment but a vital component of its purpose as a house of worship, drawing the hearts and minds of the faithful towards heaven.

The Christian perspective recognises that individuals possess free will and can respond positively or negatively to the call of beauty. While beauty can inspire a deepening desire for virtue and a closer relationship with God, it can also be rejected or dismissed as mere sentimentality.

Ultimately, the traditional Christian view sees art and beauty not as ends in themselves but as means of elevating the human person and facilitating a deeper engagement with the spiritual realm. Beauty is not a superficial adornment but a reflection of the divine order – a sign that an object or work of art fulfils its intended purpose in harmony with God's design.

In this understanding, the apprehension of beauty is not merely an emotional response but a profound experience that can engage the intellect, will, and emotions in a multifaceted way. It is a call to contemplate the divine, to pursue virtue, and to recognise the unity of the material and spiritual dimensions of human existence.

By integrating these perspectives, the traditional Christian view offers a nuanced and holistic approach to the purpose of art and the role of beauty – one that recognises their intrinsic value while situating them within a broader framework of human flourishing and spiritual growth.. 

One presumes that even Our Lady cleaned her teeth, and if she had done so, even this humble activity would have been done gracefully and beautifully.

Geoff Yovanovic, Alumnus of the Way of Beauty Program and Rising Star in Classical Architecture Named First Partner at Prestigious Firm in Atlanta, Georgia

In a significant move that signals both recognition of talent and a new chapter for a renowned architectural firm, Geoffrey Yovanovic, AIA, has been named the first partner at Norman Davenport Askins Architects. The firm will shortly be amended to reflect the name of its first partner (and may have done so by the time you read this). I am particularly pleased to see his progress as it bears witness to my assertion that beauty has a premium on the open market and is an investment of time and effort that pays rich dividends. 

A graduate of the University of Miami with a Bachelor's degree in architecture and the University of Notre Dame, where he earned his Master's degree, I met Geoff nearly 15 years ago at a Way of Beauty summer program I offered at Thomas More College of Liberal Arts shortly after he graduated from the University of Miami. We've stayed in touch ever since, and it's been a pleasure to watch him flourish and establish himself in the field while always wishing to follow via pulchritudinis - the Way of Beauty - in his professional work. I was delighted when Geoff told me, for example, that he had submitted a church design with a cloister for his successful application to Notre Dame's School of Architecture.

Yovanovic's expertise extends beyond his professional practice. When I was looking for a teacher who could create a course on the principles of Christian architecture for Pontifex University’s Master of Sacred Arts program, Geoff was the first name that occurred to me, and we are delighted to have him on our faculty. He created a course on the principle of beauty in architecture, sharing his knowledge and passion with the next generation of designers. He is also actively involved in the Institute of Classical Architecture & Art, for whom he also teaches.

Geoff told me: I had begun to follow David's blog thewayofbeauty.org shortly after graduation.  A passing reference to beauty's importance in architecture school spurred more interest in the Way of Beauty blog.  Architectural fundamentals such as proportioning, order, historic precedence had been introduced to me in school but these were all atomized at the university.  The Way of Beauty course helped unite these scattered seemingly disunited design principles, prioritize them, and direct them towards their proper end.  The two week naturalistic drawing course was enriched through the practice and explanation of the Liturgy of the Hours along with David's engaging lectures. This early foundation in beauty has proven a blessing for me.  Without this foundation, the busyness and business or architecture could cloud the objective of art and architecture which is always ordered to our ultimate end.  Teaching for Pontifex has provided me the great opportunity to share these lessons and lay that all important foundation for my students."

When I was looking for a teacher who could create a course on the principles of Christian architecture for Pontifex University’s Master of Sacred Arts program, Geoff was the first name that occurred to me. We are delighted to have him on our faculty.

Since joining Norman Davenport Askins Architects in 2015, Yovanovic has contributed to the growing reputation of an already highly respected firm. The firm is known for its meticulous attention to historical detail and collaboration with skilled craftsmen. It has won numerous design awards, and Yovanovic's work has played a significant role in these accolades.

Principles of harmonious proportion inform Geoff’s designs. A recently completed home showcases this approach, with carefully staggered window sizes and frame proportions creating a naturally pleasing aesthetic. This attention to classical principles, combined with an understanding of modern living requirements, has become a hallmark of Yovanovic's work. This adaptation of traditional design principles to contemporary living is necessary for a living tradition that participates in the universal principles of beauty but in a way that connects with people today. In order to be able to do this, the architect must have an understanding of the tradition and how these principles are manifested in all buildings from the most magnificent cathedrals and grand civic buildings to humble (and some not so humble) beautiful homes. The designs should not be identical in each case, but the embedded principle of cosmic beauty appropriately expressed in each case, will direct the souls of all to the Creator of the cosmos, who is God.

It is important, if we want a culture of beauty that today’s architects understand, as Geoff does in common with architects of the past, that all human activity can be ordered, through the beauty of the environment, to our heavenly end.

It is heartening to see a firm like Norman Davenport Askins Architects with Geoff Yovanovic as its newest partner, perpetuating timeless, beautifully crafted homes that honor the past while embracing the future.

A Modern Medium For Artists Looking to Offer Traditional Beauty To Our Churches

After a recent article suggesting that light, portable images and furnishings, such as a rood screen, might be a way to beautiful sacred spaces at a reasonable cost, I was delighted to hear again from the well-known Catholic sculptor Thomas Marsh. He wanted to tell me about a medium that he uses, which he felt would help people looking for economical and lightweight sculptures and sculpted furnishings that nevertheless have a permanent look - white gypsum cement. This was new to me, and what he described was worth passing on to you.

I've featured Thomas’s work before, notably in an interview with Dr. Carrie Gress. What sets Thomas apart in the world of classical naturalism is his deep understanding of sacred art. Unlike many skilled artists who blur the lines between sacred and secular, Thomas knows that sacred art should idealize its subjects more emphatically, emphasizing universal human values over particular details, but without neglecting the particular altogether in a subtle balance of naturalism and idealism. When artists get this right, and I think Thomas does, the result is sculptures worthy of veneration, rather than what we often see, portraits of models dressed as holy figures, albeit skillfully rendered.

Thomas wrote to me about white gypsum cement: "It's in the plaster family, though much harder and more durable. It's strictly an interior material. I often do relief sculptures for projects for the Church, and the beauty of reliefs is that they are sufficiently subtle to harmonise with architecture, when appropriate. When focused upon, they lend themselves to detailed representation, to almost any degree of verisimilitude with proper lighting from above. Finally, they are VERY economical to produce, ship, and install."

To showcase this versatile medium, I've included some examples of Thomas' relief works. There's also a photo of a large ensemble he created for St. Mary of the Immaculate Conception in Fredericksburg, VA. The centerpiece is a 6'6" corpus cast in fiberglass-reinforced gypsum cement with light polychrome—i.e. coloration. Despite its impressive size, it weighs just 90 pounds!

Contact Thomas Marsh through thomasmarshsculptor.net