Space Exploration and Sacred Art

1st IAA Conference on the Impact of Space and Society

8th Leonardo / Olats Space and the Arts Workshop
Budapest, Hungary
16-19 March 2005

Virgiliu POP
Timisoara, Romania
virgiliu_pop@yahoo.com

“When I consider your heavens, the work of

your fingers, the moon and the stars which you
have set in place, what is man that you are
mindful of him?”- PSALM 8:3-4, NIV.

Introduction
“The Eagle has landed” – proclaimed the message from the lunar surface on July 20th, 1969. “Because
of what you have done – replied President Richard Nixon – “the heavens have become a part of man’s
world” – an act with profound theological significations. If, in Mircea Eliade’s view, living into a
space means to reiterate the cosmogony, to imitate the work of the divinity 1 , to convert the Chaos into
Cosmos 2 , transformation of the Chaos into real places can be done as well through art. Wyn
Wachhorst exemplifies through the art of space artist Chesley Bonestell, whose extraterrestrial
landscapes “gave the readers of Life a new perspective on the night sky … converting points of light
into real places 3 ”. “A Bonestell moonscape” – says Wachhorst – “is a sacred place at the edge of the
known world—an altar set before the barrier, a piece of the mundane bathed in oceanic mystery 4 ”.
Space art is therefore sacred art; indeed, by depicting landscapes – terrestrial and extraterrestrial alike
– artists paint icons of the seven days of creation.

Cathedrals in the Sky

On September the 6th, 2004, a ceremony marked the development phase of the European-built
observation module for the International Space Station, known as the “Cupola” 5 . The event took place
at the Alenia Spazio facility in Turin, Italy – the same city where, in the 17th century, Guarino Guarini
built the magnificent Baroque cupola of the CHURCH OF SAN LORENZO. Two cupolas of Turin,
separated by three centuries, for two ships – one floating on the new ocean of space, the other sailing
on the ocean of the spirit.
The resemblance between vessels – whether space-going or ocean going – and churches, is no
accident. “From the architectural point of view” – writes Pavel Evdokimov – “the church … akin to a
boat, floats in the eschatological dimension, navigating towards East, towards Christ 6 ”. Charles Stark
Draper, the developer of the Apollo guidance and navigation system that would take the astronauts to
the Moon and back 7 , seems to agree; during a visit at the Holy See, Draper told a surprised Pope Paul
VI: “You and I are in the same business - celestial navigation!” 8
Draper’s navigation system was on board Columbia, Apollo 11’s command module which
astronaut Michael Collins had come to call his “mini-cathedral”. Where others saw an instrument
panel, Collins saw a nave and transept; removing the couch, he had a center aisle; and the tunnel
connecting up to the Lunar Module was like a bell tower 9 . Yet the chancel was far away, on the lunar
surface, where Buzz Aldrin converted the Eagle into his own sacred space – this time completed with

© 2005 Virgiliu Pop

a communion table – the panel in front of the Abort Guidance Section computer on which he placed
the bread, the wine and the chalice he had brought with him 10 . Years later, having too shared Holy
Communion in outer space, astronaut Tom Jones described the space shuttle as “the most magnificent
cathedral you can go to church in 11 ”.
“On the launch pads” – says Wyn Wachhorst – “the rockets point heavenward like Gothic
spires 12 ”. The erection of cathedrals of old age is, in his view, “the Gothic space project 13 ”. And, once
removed the scaffolding of the cathedral, once removed the launch tower of the rocket, the two spires
ascend towards their particular heavenly destinations - one in the chime of the bells, the other in the
thunderstorm of bell-shaped engines. Yet, sometimes, their paths overlap.

Portholes Towards the Heavens

The windows of a church are portholes towards different dimensions. By their depiction of sacred
scenes, they transport the onlooker towards the transcendental heavens. At times, however, they can
point towards the awe-inspiring physical heavens. Stirred by the words of Psalm 19:1 - “The heavens
declare the glory of God”, artists have brought celestial sights into terrestrial sanctuaries. Famed space
artist Robert McCall, author of countless illustrations relating to space and its exploration, set in
stained glass the glory of God’s creation. A stained glass window in the All-Faiths Chapel of Phoenix
Sky Harbor International Airport was followed by a much larger creation, The Light of the Universe
Windows that he and his wife Louise created for the VALLEY PRESBYTERIAN CHURCH, their
hometown place of worship 14 . The eight faceted windows stretch 360 degrees around the octagonal
chapel, imaging stars, planets and a cruciform starburst 15 .
Stained glass artist Steve Wilson has authored the windows of the WEBSTER PRESBYTERIAN
CHURCH in Houston, near the Johnson Space Center. Some of the symbols Wilson used for this place
of worship whose congregation counts several astronauts, are inspired from the physical heavens. A
number of windows are based on images returned by the Hubble space telescope, while another
source of inspiration is Buzz Aldrin’s lunar communion service 16 .
The most famous stained glass window depicting a space theme lies in the WASHINGTON
NATIONAL CATHEDRAL, an Episcopalian place of worship used as well by other denominations. The
foundation stone of this Gothic cathedral was laid in 1907, its construction lasting for 83 years. One of
its windows, dedicated to scientists and technicians, contains a lunar sample returned by the crew of
Apollo 11. On July 21, 1974, five years after the first lunar landing, the Apollo 11 crew presented to
the Dean of the Cathedral, on behalf of the U.S. President and people, a “fragment of creation from
beyond the Earth to be embedded in the fabric of this house of prayer for all people 17 ”. The
“Scientists and Technicians Window”, or the “Space Window” as it is commonly known,
commemorates the US exploration of space and man’s first steps on the moon. The artist, Rodney
Winfield, wanted to symbolize by its design the minuteness of humanity in God’s universe, the
macrocosm and microcosm of space, with punctiform stars and radiant solar orbs encircled by a white
trajectory depicting a manned spaceship 18 . “Inspiration for the window’s design and color palette” –
as professed on the official website of the Cathedral – “came from photographs taken during the
Apollo 11 mission 19 ”. While the Space Window was manufactured by Rodney Winfield, it is also the
fruit of four years of work by NASA Administrators THOMAS PAINE and JAMES FLETCHER, together
with the Dean of the Cathedral, FRANCIS SAYRE. While White House officials said that if they gave a
moon rock to the Washington Cathedral they would have to give some to every church in the U.S.,
FLETCHER said that the Cathedral is not only a church, but also a national shrine visited by hundreds
of thousands of tourists. Given this dual purpose of the Cathedral, President NIXON finally approved
the request in a letter to PAINE, who donated the window to the Cathedral. Next to the window, a
carved boss shows the bootprints left by the astronauts walking on the Moon 20 .

2
Icons of the Space Age
The visitor to the late-Gothic Cathedral of Salamanca is puzzled by the sight of an incongruous figure
engraved on the northern “Puerta de Ramos” (Door of Branches). The sculpture of a spacesuited,
booted astronaut carved on a centuries old cathedral door has grown into a “must see” attraction for
the tourists. The explanation of this anachronism is logical – the figure is not the result of foresight
from the original masons, but the fruit of the recent renovations 21 .
17th Century ST. PAUL’S CATHEDRAL, a famous London landmark considered to be the world’s
first Protestant Cathedral, is home to the American Memorial Chapel. Located in the Apse, it honors
American soldiers who died in World War II. Dedicated in 1958, the Chapel features a limewood
paneling incorporating a carved rocket – a tribute to the American achievements in space 22 .
In the balcony of Palo Alto’s TRINITY EVANGELICAL LUTHERAN CHURCH, behind the organ, lies
the “Dream Window”, a stained glass panel depicting a rocket whose shape can be observed from
outside the church building. While the church itself was built in 1925, this space age window was
dedicated on May 28, 1961, just a few weeks after the first human being entered outer space and just
days after Alan Shepard became the first American to do so. All the stained glass windows in the
church nave were laid out by Pastor Lang and designed and built by Carl Hunecke 23 .
One of the doors of the BASILICA OF ST PETER’S in Vatican is called “Porta della Morte” (“The
Door of Death”), having been used as the exit for funeral processions. The work of contemporary
artist Giacomo Manzù, the door was sculpted at the request of Pope John XXIII and was completed in
1964. Its scenes express the Christian meaning of death though the passing of Jesus, Mary, Abel, St.
Peter, each exemplifying a different death (Death of the Just, Death of the Innocent, Violent Death,
Serene Death). Among the ten scenes of passing beyond, Manzù has chosen to depict Sudden Death
as occurring in Space 24 .
The “Human Endeavor Windows 25 ”, featuring astronaut John Glenn in spacesuit, were installed
in San Francisco’s GRACE CATHEDRAL in 1964. The third largest Episcopal cathedral in the United
States, it was designed in French Gothic style by Lewis Hobart and built between 1928-1964 26 . Its 67
stained glass windows depict various religious and lay themes and characters 27 .
The East Doors of another Episcopal house of worship – TRINITY CATHEDRAL of Sacramento -
reflect Courage and Faith. The first virtue is personified by Neil Armstrong, the first human to step on
the Moon. On the lunar landscape, behind the astronaut, the stained glass depicts the Lunar Module,
as well as the earth and a rocket. Below him, an eagle defending its nest from a snake is also
reminiscent of the Apollo 11 patch 28 . The Narthex windows of the Trinity Cathedral were designed by
stained glass artist William Rundstrom of Groveland, California 29 .
In a chapel at the Pentagon, three stained glass panels depict three spiritual principles and events.
Besides George Washington kneeled in prayer and four chaplains who gave their lives while saving
others from a sinking ship, a panel shows an astronaut holding to the US Flag and looking at the
Earth 30 .
The CHURCH OF THE MOTHER OF GOD THE QUEEN OF POLAND in Krakow was built between
1967-1977 in the failed Communist utopia of Nowa Huta. “ARKA PANA” – as the church is commonly
known - is adorned with 2 million small polished stones from the riverbeds of Poland, and beyond:
the decoration of the tabernacle – a gift from the diocese of Sankt Polten in Austria shaped like a
model of the solar system – include a piece of moon rock, given to Pope Paul VI by an American
astronaut 31 .
In 1984, the roof of the YORK MINISTER south transept was badly damaged in a fire and needed
replacement. Two years later, BBC’s “Blue Peter” ran a children competition for six structural boss
designs that would best reflect the 20th Century. Rebecca-Rose Welsh, a six-year old girl from
Glasgow, was the youngest winner. Her choice for a design was the first man on the moon. “I drew it
on a gritty old piece of scrap paper” – she remembers; “I drew a box on the spaceman's suit and when
I met the Queen and Blue Peter presenters later they all laughed when I told them it was for his
sandwiches in case he got hungry on the moon!”. Rebecca’s drawing shows Neil Armstrong sitting on
a silver crescent moon, with stars behind him. The drawing was then carved by Nick Quayle, who

3
presented her with a miniature boss to keep. “It is an amazing thought” – she says – “that it will still
be up there in hundreds of years to come for my great great great grandchildren to see” 32 .
In 1994, the CHRISTCHURCH PRIORY – the oldest parish church in Britain – marked its 900th
anniversary. Besides the installation of a new stained glass window, the Priory celebrated nine
centuries of existence by making new altar-rail kneelers (hassocks) for the Lady Chapel – a small
chapel dedicated to the Virgin Mary. Besides showing scenes from the Priory’s history, the hassocks
include modern subjects such as the Apollo Moon Landing 33 .
A stained glass window depicting Jesus Christ knocking on the door of the human soul was
dedicated in CHRIST CHURCH Woodbury, NJ on September 13th, 1998. It commemorates the life and
ministry of Canon William V. Rauscher, Rector of this Episcopal Church until 1996. The window was
conceived by a committee appointed by his successor, Rev. Douglas E. Anderson, and was
handcrafted by Kenneth Crocker of the Willet Stained Glass Studios in Philadelphia. The window also
illustrates various symbols pertaining to the life of Canon Rauscher, including the heavens and the
moon in whose exploration he held a special interest. Embedded in the stained glass moon is a piece
of lunar material presented to Canon Rauscher by Apollo 14 astronaut Edgar D. Mitchell, whom he
first met in the early 1970s. In a letter addressed to the congregation of Christ Church, astronaut Ed
Mitchell expressed its pleasure in knowing that this four billion years old lunar sample from Fra
Mauro, one of the oldest found on the moon, has a permanent home in this church window, and
consecrated this gift as a reminder not only of outer space but also inner space 34 .
On October 29th, 2000, the “Millennium Window” was installed in the PARISH CHURCH OF ST.
LAWRENCE, Hatfield in the Diocese of Sheffield, England. Four years earlier, Rev. John W. Sweed
suggested a new stained glass window for this 12th Century church, that would reflect events,
discoveries, and persons of local, national and international significance relevant to the Hatfield
community for the past thousand years. The themes put forward by the parishioners and subsequently
enclosed in the North Transept window varied from the signing of the Magna Carta to the discovery
of penicillin and the flight of the Wright brothers – all these events occurring in “1000 years of Jesus
Christ” 35 . One of the themes depicted by York stained glass artist Sep Waugh is the exploration of
space, represented by an astronaut walking on the moon with the Lunar Module and the Earth in the
background 36 . Another panel depicts transport in several elements – from a hot air balloon to a space
rocket 37 .
A space shuttle and a moonwalk are shown as landmarks of the 20th Century on yet another
Millennium Window, in the CHURCH OF THE ASCENSION Annahilt in Northern Ireland, work of the
Leadlines & David Esler Studios 38 . And, according to Alec MacGillis of Baltimore Sun, “[a]t least
one local church” in Houston “has a space shuttle as the centerpiece in its stained glass window” as
proof that science and religion are fully reconciled, both endeavors entailing contemplation of the
firmament 39 .

The Sacred Art of Godless Communism…

“One of the conceits of some modern materialists” – writes Gillies Macbain – “is that they have no
religion. This I dispute … I would say that atheism is one of the most dogmatic of all religions.
‘Scientific materialism’ is a major sect of the atheist faith 40 ”. Indeed, as Ori Pomerantz maintains,
“Communism, as practiced in the Soviet Union … was a particularly nasty type of state religion”. As
such, it had its prophets and saints in the persons of Marx, Engels and Lenin. Having burnt the icons
of the Russian Orthodox Church, new icons were needed and created – “pictures of Marx, Engles and
Lenin on every billboard and statues in every square”. And, as every religion, it needed miracles –
embodied by Yuri Gagarin’s flight into space 41 .
As a miracle-performing saint of atheism, Yuri Gagarin attracted his own cult, with all the
paraphernalia pertaining to his worship. Yet, Gagarin himself was far from encouraging his
canonization: “I’m still an ordinary mortal. I haven’t changed 42 ”. Still, Soviet artists created an entire
iconography; Dzhanibekov’s painting ‘Gagarin before take-off’ shows him “bathed in ethereal light
similar to a depiction in an orthodox icon”, while “in the sky all around him doves (presumably for

4
peace) flutter 43 ”. And he was a genuinely loved popular saint of atheism - Gagarin’s photographs
were sold at newsstands and pasted as lucky charms on taxi windscreens across USSR 44 .
Yet the Christian Orthodox faith was flowing like an underground river in Communist Russia.
For the believing Christian Orthodox, Gagarin’s pictures were not icons. The human being – Yuri
Gagarin included - made according to the image of God, is himself a living icon of God 45 . Unaware of
this, by sending Yuri Gagarin to outer space, the godless communists were the first to launch an
Orthodox icon aboard a spaceship.

…and the Orthodox revival

Unlike the Western tradition, it would be very uncommon to find depictions of the lunar landing or of
astronauts in an Orthodox church. Secular subjects and persons are rarely represented in the Eastern
Christian iconography – yet not entirely absent; portraits of people who financed the building of a
church are the most common example. Historical events can be used sometimes to embody symbolic
values – several centuries ago Romanian church painters depicted Turkish soldiers as Satan – and
contemporary church art has perpetuated this custom. While working at the “Descent into Hell” fresco
in a military Orthodox chapel in Timisoara, Romanian painter Ion Badila saw the 9/11 terrorist attack
in America. As a consequence of seeing hell unleashed on earth, he decided to paint Saudi terrorist
Osama Bin Laden as personifying the Devil, riding an airplane and carrying a fork aimed at the World
Trade Center 46 .
Instead of decorating Orthodox churches with scenes from their travels, the Christian Orthodox
prefer the opposite phenomenon – to take saintly images to them when traveling – be it to outer space.
In 2001, STS-105 crewmember Mikhail Tyurin, a 41-year-old Russian cosmonaut, took pocketsize
religious icons to the space station during his first flight ever to outer space. He stated that this is a
family tradition, and he has these icons with him everywhere, in his home 47 . Another Russian
spaceman, Valery Polyakov, found support in having with him a small reproduction of the icon of Our
Lady of Kazan on every space trip 48 . Russian cosmonauts have decorated the walls of the MIR space
station with Orthodox icons – a tradition borrowed from the Russian ships, decorated thus in the past
centuries 49 . With the demise of the MIR, the custom carried on, icons and images of churches
becoming fixtures on the walls of the International Space Station.
Other times, Christian Orthodox sacred art was carried into space as a symbolic gesture. Among
the items returned from the ISS by the Expedition 9 crew in late 2004, besides envelopes with the ISS
emblem and a pennant of Baikonur, there were two sealed packages containing copies of of the icons
of Our Lady of Kazan and of the Archangel Michael 50 . Nine years earlier, on July 25, 1995, two icons
of Saint Anastasia were officially installed in the Russian MIR Space Station by cosmonauts Anatoly
Solovyov and Nikolai Budarin. The holy images – one Roman Catholic and one Orthodox – were
blessed beforehand by Russian Patriarch Alexei II, Pope John Paul II 51 and Serbian Patriarch Pavel 52 .
Saint Anastasia is a 4th Century saint revered by both confessions, having lived prior to the great
schism that divided Christianity into Catholicism and Orthodoxy. “As a saint of the undivided
Church” – wrote Patriarch Alexei in a message to the participants of the icon project – “St Anastasia
symbolises the common roots of Eastern and Western Christians, calling on the followers of Christ to
restore their lost unity, and on all humankind to establish international relations on the basis of peace
and solidarity”. The intention behind the project – named “St Anastasia - the Hope for Peace” – was
to bring peace and reconciliation especially in the war torn space of ex-Yugoslavia 53 . The icons
traveled aboard MIR for 7 months and, upon their return to earth in 1996, they were taken to places
dedicated to St. Anastasia all over Europe. In 2004, they finally reached Sremska Mitroviza in Serbia,
the land of St. Anastasia’s martyrdom, where they will remain as a help for peace for the peoples of
the Balkans and as an ideal reference to rediscover the common Christian origins and to build one
cultural and moral Europe 54 .

5
Space Art and Sacred Acts
During the Apollo program, a group of the NASA Johnson Space Centre workers convened a weekly
prayer meeting in the corridor adjacent to the Visitor’s Center auditorium. Above the group’s meeting
point, it was placed an oil painting by artist Pilar Rubin, depicting a lunar scene. Jerry Woodfill
describes this work of art:
“Cradling a Bible in his arms, a space-suited astronaut stood in the company of a kneeling robed
and bearded man, a likeness of Christ. Head bowed in prayer, the Christ figure held a wine
chalice. In the midst of the composition was an hourglass. The deposited sands of time contained
the Greek letter ALPHA with the letter OMEGA resurrecting from the upper reservoir. ("I am the
alpha and the omega, the beginning and the ending...[Rev. 1:8]") The scene’s composition
suggested Apollo 11’s lunar communion as well as the reading of Genesis from lunar orbit on
Christmas Eve of 1968. In effect, the scene depicted Christ interceding for America’s space
program. As such, it represented the group’s ministry of intercession 55 ”.
“No matter what planet you are on” – revealed space artist Pat Rawlings – “your beliefs go with you”.
With this mindset, he created “Communion” 56 , a painting commissioned by an Episcopalian deacon
and former NASA JSC engineer, and dated January 1st, 1999. The painting shows a group of
astronauts on Mars – one of them with priestly clothes over the spacesuit in front of a Martian
masonry altar, looking towards five other astronauts. In the background of the painting, set in the
Valles Marineris, the sun shines. “How the elements are administered with pressure suits is not
addressed in the image” – admits the author – “This detail is left to the imagination”.

Conclusion
From the above, it can be seen that while God is constant – same yesterday, today and forever –
religious art evolves, mirroring events such as the conquest of space. The vitality of the church is
perennial, and it has the capacity “to awaken artistic inspiration in all ages” – including the space age.
Space exploration, as a living parable, entered church art, finding no difficulties in taking the
proverbial "giant leap". And, beyond the inspiration of the painters ad craftsmen, lies the greatest
space artist of them all- God himself.

Notes

1
ELIADE, MIRCEA (1992), Sacrul si Profanul, Editura Humanitas, Bucuresti, p.63. (Romanian
translation of ELIADE, MIRCEA (1965), Le Sacre et le Profane, Gallimard)
2
Ibid., p.31.
3
WACHHORST, WYN (2000), The Dream of Spaceflight – Essays on the Near Edge of Infinity, Basic
Books, New York, p. 49.
4
Ibid., p.57.
5
SPACEDAILY.COM / ESA (2004), A Room With A View: Completion Of The ISS Cupola
Observation Module, Space Daily, August 31st, 2004 <www.spacedaily.com/news/iss-04zs.html>
[accessed 10/01/05]
6
CONIARIS, ANTHONY M. (2001), Introducere in credinta si viata Bisericii Ortodoxe, Editura Sofia,
Bucuresti, Romania, p.107 (Romanian translation of CONIARIS, ANTHONY M, Introducing the
Orthodox Church. Its Faith and Life, Life Publishing Company, USA).
7
BATTIN, RICHARD H. (1989), Some Funny Things Happened on the Way to the Moon, The
Theodore von Karman Lecture, 27th Aerospace Sciences Meeting, January 9-12, 1989, Reno,
Nevada, paper AIAA-89-0861, p.3.
8
MORGAN, CHRISTOPHER; O’CONNOR, JOSEPH; HOAG, DAVID Draper at 25 - Innovation for the
21st Century, <www.draper.com/publications/draper25/birth.pdf>[accessed 10/01/05]

6
9
MAILER, NORMAN (1971), A Fire on the Moon, Pan Books, London, p.381.
10
Ibid., p.359.
11
NOBLE, DAVID F. (1997), The Religion of Technology: The Divinity of Man and the Spirit of
Invention, Knopf, New York, p. 142
12
WACHHORST (2000), op.cit, p. 98.
13
Ibid. p. 102.
14
GALEHOUSE, MAGGIE (2004), Out-of-this-world art needs a down-to-earth home: Valley's McCall
seeks museum for his works, The Arizona Republic, December 9th, 2004
<www.azcentral.com/community/westvalley/articles/1209mccallmuseum09.html> [accessed
10/01/05]
15
VALLEY PRESBYTERIAN CHURCH, Kilgore Chapel- The Light of the Universe Windows
<www.valleypres.com/campus/stained_glass_windows.html> [accessed 10/01/05]
16
HUSTMYRE, CHUCK (2003), Capturing God’s light, The Advocate, Baton Rouge, November 22nd,
2003 <staging.2theadvocate.com/stories/112203/rel_mainrel001.shtml> [no longer at this location]
17
LINDSAY, HAMISH (2001), Tracking Apollo to the Moon, Springer-Verlag
<www.pcug.org.au/~jsaxon/space/book/Apollo11.htm>[accessed 10/01/05]
18
WASHINGTON NATIONAL CATHEDRAL, Scientists and Technicians Window — “Space Window”
<www.cathedral.org/cathedral/discover/spacewindow.shtml>[accessed 10/01/05]
19
Idem
20
KITTYTOURS (2003), Do-It-Yourself Tour of the Washington National Cathedral
<www.tourguideguide.com/cathedraltour.asp>[accessed 10/01/05]
21
RYAN, LUISA ,Fiestas Salamanca-Style
<www.bootsnall.com/travelstories/europe/jun02fiesta.shtml>[accessed 10/01/05]
22
ST. PAUL’S CATHEDRAL, The Cathedral Floor
<www.stpauls.co.uk/page.aspx?theLang=001lngdef&pointerID=861696IhcVLL99drjeoTjrkz39LOQn
r0>[accessed 10/01/05]
23
TRINITY EVANGELICAL LUTHERAN CHURCH, Trinity's Stained-Glass
<www.trinity_lutheran_church.homestead.com/Windows.html>[accessed 10/01/05]
24
SUFFI, NICOLO (1998), St. Peter's - Guide to the Basilica and Square, Libreria Editrice Vaticana
<www.stpetersbasilica.org/Docs/Basilica-Square2.htm#doors>[accessed 10/01/05]
25
OHIO STATE UNIVERSITY ARCHIVES, John Glenn Archives Audiovisuals Subgroup Series 12:
Prints <library.osu.edu/sites/archives/glenn/collection/audiovisuals/prints.htm>[accessed 10/01/05]
26
GRACE CATHEDRAL, History, <www.gracecathedral.org/church/>[accessed 10/01/05]
27
LAMPEN, MICHAEL D. (2003), Jewels Of Grace - The Connick Windows at Grace Cathedral, San
Francisco <www.cjconnick.org/February2003.html>
28
TRINITY CATHEDRAL, Trinity Windows - The East Doors
<www.trinitycathedral.org/TrinityWindows/East_Doors.htm>[accessed 10/01/05]
29
TRINITY CATHEDRAL, The Windows of Trinity
<www.trinitycathedral.org/TrinityWindows/Trinity_Windows.htm>[accessed 10/01/05]
30
ROUSSEAU, DIANE M (2004), Transformation at the Pentagon, The Open Line,
<theopenline.cc/transformation_pentagon.htm>[accessed 10/01/05]
31
WEIGEL, GEORGE (2001),Witness to Hope: The Biography of Pope John Paul II, Perennial, p.190.
See also STRZALA, MAREK (2001), Krakow's Churches <www.krakow-
info.com/koscioly.htm>[accessed 10/01/05]
32
WELSH, REBECCA-ROSE (2004), Man on the moon, BBC, July 8th 2004
<www.bbc.co.uk/northyorkshire/iloveny/minster/fire/rebecca.shtml>[accessed 10/01/05]
33
CHRISTCHURCH PRIORY, The Lady Chapel, <www.christchurchpriory.org/lchapel.htm>[accessed
10/01/05]
34
MITCHELL, JOAN A., Reflections On A Stained Glass Window In Christ Church Woodbury, New
Jersey, <www.mysticlightpress.com/index.php?page_id=49>[accessed 10/01/05]

7
35
HATFIELD CHURCH (2000), Hatfield Millennium Window Installed, Unveiled, Awaiting your visit.
<www.hcol.co.uk/mw1.htm>[accessed 10/01/05]
36
HATFIELD CHURCH (2000), The Millennium Window. <www.hcol.co.uk/vw3.htm>[accessed
10/01/05]
37
HATFIELD CHURCH (2000), The Millennium Window. <www.hcol.co.uk/vw18.htm>[accessed
10/01/05] This window is indeed worldly – see the panel picturing, inter alia, the work of local
plumber Thomas Crapper – the flush toilet! <www.hcol.co.uk/vw13.htm>.
38
CHURCH OF THE ASCENSION ANNAHILT PARISH (2001), Millennium Project Window Design,
15th September 2001<www.annahiltparishproject.btinternet.co.uk/Web-Design.htm> [no longer at that
address]
39
MACGILLIS, ALEC (2003), City seeks answers from science, faith, Baltimore Sun, February 3rd,
2003 <www.baltimoresun.com/technology/bal-te.houston03feb03,0,6169703.story?coll=bal-
technology-headlines>[accessed 10/01/05]
40
MACBAIN, GILLIES (1995), Pilgrimage to the Moon, The Aisling Magazine, Issue 17 - Samhain
1995, <www.aislingmagazine.com/aislingmagazine/articles/TAM17/Moon.html>[accessed 10/01/05]
41
POMERANTZ, ORI (2000), The Gods of Godless Communism, Presented at the March 5, 2000
Sunday Service of The North Texas Church of Freethought,
<church.freethought.org/0003.godsofcommunism.html> [no longer at that address]
42
DORAN, JAMIE; BIZONY, PIERS (1999), Starman: The Truth Behind the Legend of Yuri Gagarin,
Bloomsbury, London, p.139.
43
SHELDON, HUGH, Space Culture and Propaganda in the USSR 1917-69’
<www.ncf.carleton.ca/~ev501/cosmos.html>[accessed 10/01/05]
44
AFP (2001), Gagarin Legend Stays Intact Among Russians, indiainfo.com, 11/04/01,
<http://news.indiainfo.com/2001/04/11/11gaga.html> [no longer at that address]
45
CONIARIS (2001), op.cit, p. 218.
46
BBC (2002), Bin Laden rides to fresco Hell, BBC News, July 6th, 2002
<news.bbc.co.uk/1/hi/world/europe/2106403.stm>[accessed 10/01/05]
47
ASSOCIATED PRESS (2001), Meet the STS-105 Crew, Houston Chronicle, August 12th, 2001,
<www.chron.com/cs/CDA/story.hts/space/sts105/pre/1001926>[accessed 10/01/05]
48
HAFFERT, JOHN M. (2002), Deadline: The Third Secret of Fatima, 101 Foundation, Inc, p.136.
49
ASSOCIATED PRESS (2001), Tourists head for Mir re-entry site, March 16th, 2001
<www.hypography.com/article.cfm?id=30324>[accessed 10/01/05]
50
NASA HQ / SPACEREF / NASA WATCH (2004), NASA Space Station On-Orbit Status 21 October
2004 <www.spaceref.com/news/viewsr.html?pid=14287>[accessed 10/01/05]
51
ZOLOTOV, ANDREI (1995), Saintly image goes into space as symbol of joint hopes for peace, ENI,
26 July 1995, Moscow, in ECU-NEWS, <www.green.net.au/boganv/okinf45.htm>[accessed 10/01/05]
52
TCHAKHOTINE, PIERRE (2004), Art For Peace In Europe
<www.artedelpastello.com/documenti/bando_gb.doc>[accessed 10/01/05]
53
ZOLOTOV (1995), op.cit. The two icons were delivered three days earlier, alongside supplies for the
station, by Progress M-28 - a Russian automatic cargo spacecraft. – see NASA (1995), SPACEWARN
Bulletin Number 501, 25/07/95 <nssdc.gsfc.nasa.gov/spacewarn/spx501.html>[accessed 10/01/05]
54
TCHAKHOTINE (2004), op.cit
55
WOODFILL, JERRY (2000), Mysterious Space Painting Confirms Space Acts
<www.spaceacts.com/actsart.htm>[accessed 10/01/05]
56
RAWLINGS, PAT (1999), Communion, <www.patrawlings.com/detail.cfm?id=1004>