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"In this densely written and learned study of nineteenth-century and fin de siecle aesthetics, Adam Carnehl recovers Chesterton as an important figure in theological mysticism after Ruskin, Pater, and Wilde. Rooted in German Idealism and Romantic thought in Blake and Coleridge, this book deftly re-evaluates Victorian aesthetics culminating in Chesterton, in the recovery of the imago dei, and in God as divine artist."
David Jasper, professor emeritus of literature and theology, University of Glasgow
"By contextualizing Chesterton's intellectual beginnings in late Victorian aesthetics, Adam Carnehl reveals the deep roots of his subject's theological vision and that vision's ultimate coherence. At a time when theology is again turning to the arts, Carnehl is able to show that Chesterton remains a resource for serious theological reflection, over and above the sometimes-polemical apologetics of his later years. Admirably clear, The Artist as Divine Symbol fills an important gap in the literature."
George Pattison, honorary professorial research fellow, University of Glasgow