Lichfield Cathedral: A Theory of Everything Integrating Mathematical Angelic Concepts, Neoplatonic Ideas, and the Psychology of Plato’s Solids
“… the kingdom of heaven is the same as the kingdom of earth” — Rabbi Joseph Gikatilla (1238–1305)
Introduction
Lichfield Cathedral, an iconic Gothic structure in England, symbolises spiritual and architectural grandeur. Beyond its physical beauty, the cathedral is an intersection of esoteric concepts, where sacred geometry, Neoplatonism, and the mathematical theory of angels converge. This essay aims to construct a “theory of everything” by blending these diverse ideas with the psychological implications of Plato’s solids, offering a holistic understanding of Lichfield Cathedral as a sacred space.
Lichfield Cathedral: A Brief Overview
With its three spires, Lichfield Cathedral is a masterpiece of medieval Gothic architecture. Founded in 669 AD to St. Chad and St Mary, it has undergone numerous transformations, reflecting the historical and cultural shifts over the centuries. The cathedral’s intricate design, stained glass windows, and symbolic motifs are artistic expressions and embodiments of deep spiritual and philosophical ideas.
The Mathematical Theory of Angels
The mathematical theory of angels, rooted in medieval mysticism and mathematics, posits that angels can be understood as mathematical entities or forms. This theory suggests that angels (who figure large in the story of St Chad’s death), as intermediaries between the divine and the mortal, embody perfect mathematical forms and principles. In the context of Lichfield Cathedral, the architecture itself can be seen as a manifestation of these divine mathematical principles, where the harmony and proportions of the structure mirror the celestial order.
The cathedral’s layout, with its precise geometric proportions, reflects the belief in a cosmos governed by mathematical order. The nave, transepts, and choir form a cross, symbolizing the intersection of the divine and human realms. This architectural design resonates with the idea that sacred spaces are constructed to reflect the divine harmony of the universe, with angels as the custodians of this celestial order.
Neoplatonic Ideas and Sacred Architecture
Neoplatonism, a philosophical system developed by Plotinus, emphasizes the existence of a single, unified source of all reality, often identified with the One or the Good. Neoplatonic thought posits that the material world emanates from this source through descending levels of reality, each more imperfect (although in reality, each is perfect) than the last.
Lichfield Cathedral embodies the Neoplatonic idea of ascent to the divine with its ascending spires and vertical emphasis, or the experience as one walks around the building. The architecture guides the observer’s gaze upward (or around the interior), symbolizing the soul’s journey from the material world to the divine source. The intricate carvings and sculptures represent various stages of this spiritual ascent, with angels playing a crucial role as guides and intermediaries.
The cathedral’s use of light, primarily through its stained glass windows, also reflects Neoplatonic ideas. In Neoplatonism, light symbolizes the divine intellect and the emanation of the One. The play of light within the cathedral creates a sense of divine presence and transcendent beauty, drawing the observer closer to the experience of the divine.
Plato’s Solids and Psychological Symbolism
Plato’s solids — geometric shapes that represent the fundamental elements of the universe — offer another layer of meaning when integrated with the architecture of Lichfield Cathedral. These shapes — the tetrahedron [Quire], hexahedron [Nave], octahedron [Transepts/Crossing], dodecahedron [Chapter House], and icosahedron [Lady Chapel] — are associated with fire, earth, air, ether, and water, respectively.
Psychologically, Plato’s solids can be seen as symbols of different aspects of the human psyche and the cosmos. The cathedral’s architecture can be interpreted as a three-dimensional manifestation of these shapes, symbolizing the integration of existence's elemental and psychological aspects.
For instance, the tetrahedron (fire) symbolizes the transformative power of the divine, reflected in the cathedral’s spires reaching toward the heavens and the Quire on the floor plan. The hexahedron (earth) represents stability and foundation, embodied in the solid stone construction of the cathedral, as well as the Nave. The octahedron (air) signifies balance and harmony, evident in the cathedral’s symmetrical design and the Transepts. The dodecahedron (ether), representing the universe, is mirrored in the cathedral’s overall unity and coherence and Chapter House. Finally, the icosahedron (water) symbolizes fluidity and change, as seen in the cathedral's flow of light and space, as well as the Lady Chapel.
Integrating the Concepts: A Theory of Everything
By integrating the mathematical theory of angels, Neoplatonic ideas, and the psychology of Plato’s solids, we can construct a holistic “theory of everything” that encompasses the spiritual, philosophical, and psychological dimensions of Lichfield Cathedral.
As a sacred space, the cathedral serves as a microcosm of the universe, reflecting the divine order through its mathematical proportions and geometric design. As mathematical entities, the angels embody the harmony and perfection of the celestial realm, guiding the soul’s ascent to the divine. Neoplatonic principles are evident in the cathedral’s architecture, symbolizing the emanation of the divine and the soul’s journey toward union with the One.
Plato’s solids, integrated into the cathedral’s design, symbolize existence's elemental and psychological aspects, creating a harmonious relationship between the material and spiritual realms. This integration reflects the belief that the physical world when understood through the lens of sacred geometry and philosophical symbolism, reveals deeper truths about the nature of reality and the divine.
Conclusion
Lichfield Cathedral, through its architectural splendour and symbolic richness, stands as a testament to the profound interplay of mathematics, philosophy, and spirituality. By blending the mathematical theory of angels, Neoplatonic ideas, and the psychology of Plato’s solids, we can appreciate the cathedral as more than a historical monument; it becomes a living symbol of the divine order and the unity of all existence. This comprehensive “theory of everything” enriches our understanding of Lichfield Cathedral and invites us to explore the deeper connections between the material and spiritual worlds, leading us closer to the divine mystery that lies at the heart of all creation.
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