Cover -- Endorsement -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Editor's Introduction -- Notes -- Part I Foundations -- Introduction -- Notes -- 1 In the Beginning Was the Image -- Foundations in Revelation -- Visual Art -- Literary Art -- Music -- Architecture -- Foundations in Human Experience -- Evaluating Theology's Retreat -- Re-engaging with Human Experience of God -- Renewing the Address of Revelation -- Conclusion -- Notes -- 2 Why Theology Needs the Arts -- The Collapse of Dualism and Appeal to Metaphor -- The Collapse of Theistic Arguments and the Appeal to Religious Experience -- Social Conditioning and Communication through Images -- Limits of Human Knowledge and Complementary Imagery -- Conclusion -- Notes -- 3 Learning from Pagans -- A Grounding in Jesus' Life -- New Questions Posed by Art and Music -- Learning from the Unorthodox -- 'Secular' Contexts as Religious -- Coltrane's Love Supreme -- Conclusion -- Notes -- Part II The Power of Symbols -- Introduction -- Notes -- 4 Understanding Symbol -- Introduction -- Symbols: Natural and Otherwise -- Dispensability or Otherwise -- Context and Multivalency -- Notes -- 5 Baptism and Water as Cosmological Symbol -- The Fountain that Restrains Cosmological Chaos -- Christ as Water and Fountain of Life -- Architecture and Art Preserving Wider Resonances for Water and Baptism -- The Contemporary Situation -- Conclusion -- Notes -- 6 'The darkness and the light are both alike to thee': Finding God in Limited Light and in Darkness -- The Biblical World: Darkness and Divine Mystery -- In the World of Art and Architecture: God in Limited Light -- In Relation to Modern Science: Artificial Light Substituting for, or Suggestive of, God -- Conclusion -- Notes -- Part III Artists as Theologians -- Introduction -- Notes -- 7 The Annunciation as True Fiction -- Notes