'It is a beautifully illustrated book which explains both the beauty and the geometry of Gothic architecture as seen in Chartres.'
The Rt Revd Brian Smith, former Bishop of Edinburgh
'It's beautifully produced. It opens our eyes to the story of our historic relations with Islam. The deeper theme of seeing God in the darkness as well as the light is important, and so is the link between the geometry of square roots and the mysteriousness of Gothic, and of God. God isn't in a box, and can't be contained.'
The Very Revd Jim Mein, Christ Church Episcopal, Edinburgh
'Read Gordon Strachan's book and then visit Chartres with an open mind and wide vision, to find personal insight. Illustrated with beautifully prepared drawings.'
– Clive Hicks, Caduceus
'It does not matter if you know nothing of sacred geometry; by the end of this book you will have effortlessly imbued a firm understanding of what it is, and how it is... It is a fascinating read. Strachan's clear explanations of measurements, together with excellent graphics, take the reader on a revelatory journey of mystical spirituality.'
– Logan Lewis-Proudlock, Light magazine
'An inspiring and informative resource for those interested in religious architecture.'
– The Beacon
'Will delight anybody who recognizes the influence of the built environment. Copious illustrations adorn the text, illuminate the discourse and delight the eye. Gordon Strachan has produced a labour of love, and it shows.'
– Music and Psyche
'Quite simply, we have here a magnificent building that was produced by a unique blend of masonic skills, religious ideas and earth energies. To walk through Chartres is indeed to walk through a sacred space.'
– Fortean Times
The Rev. Strachan's new study examines the spiritual geometry of the church and suggests its significance is connected to an ancient combination of pagan worship, earth energies and the mystical harmony of Christian and Islamic architecture. Highly recommended.'
– The Cauldron
'A detailed yet reader-friendly exploration of the mathematics of Pythagorean, early-Christian and Sufi geometry, leading to applications in medieval Gothic architecture. The author ends by stating that people are drawn to explore cathedrals... he feels there is something 'alchemical' in the very architecture of the buildings themselves. I have always felt this and now have a better idea of why. Five pentacles.'
– Cerridwen Connelly, Pentacle"
