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Labyrinth

For thousands of years people have constructed labyrinths, or sacred paths, as models of their life journey. Labyrinths are used as a meditative and spiritual tool, as a way to connect larger eternities of life, as a journey into self and back to the world. Labyrinths are also symbols, combining static completeness of a circle with a spiral path of dynamic change. For Christians and others, walking a labyrinth represents a connection to an ancient spiritual tradition, one that is both deeply personal, and broadly universal.

A labyrinth should never be confused with a maze. While a maze has many paths, dead-ends and choices, a labyrinth—however meandering and complex—has only one path. It is impossible to become physically lost in a labyrinth. Many find this security gives them the freedom to become lost in a spiritual, personal or meditative way. There are also no choices to make in a labyrinth, no forks in the road, thus walking a labyrinth removes the pressures of decisions for a brief time, and permits concentration on a more passive, more present way of being. The only choice is whether or not to come walk this spiritual path, to trust that this path will take you where you need to go.

The earliest labyrinths are referred to as classical; their pattern was first documented on a clay tablet from Pylos, Greece and dated to circa 1200 B.C.E. These labyrinths are easily constructed from a seed pattern of a cross and dots, and offer a simple, continuous spiral. The classical type can be adapted to create a concentric labyrinth, in which all the paths are concentric circles. In Roman times, classical labyrinths were also adapted into squares, circles, or other polygons and were sometimes set into floor tiles in buildings or used as decorative elements.

The construction of the Gothic cathedrals in the middle ages witnessed resurgence of labyrinths. Used as models for, and in place of, religious pilgrimage, these medieval labyrinths are typically divided into four quadrants, and are imbued with Christian meaning, often though the use of sacred geometry. The most famous of these labyrinths is perhaps the one set into the floor at Chartres Cathedral in France, an eleven circuit labyrinth installed in 1201.

The first of our labyrinths at the C+CC is based on these medieval designs. It is a seven-circuit pattern, and incorporates a prayer spot near the entrance. The object placed in this spot is approached from every direction in the course of walking the labyrinth. This is our larger labyrinth, and is typically used in the auditorium of the C+CC. Like traditional labyrinths, walking to the center is only half of the journey; as you must also walk back out. This larger labyrinth also includes petals in the center to define personal space for reflection; medieval pilgrims would often repeat the same prayer in each of the petals. We invite you to do the same.

Our other, smaller design is or own creation, based around an elliptical shape. This shape, with its two foci offers a subtly different experience than the traditional circle constructed from a single point. This design also responds to a desire to have a labyrinth with separate paths: one for entering, one for leaving. This format promotes a different interpretation of the center—a rest in the middle of a journey, rather than a destination. Having both of these designs available allows us to offer different experiences for different walkers and in different locations.

It is our pleasure to welcome you to come walk a while with us. All it offers is what you bring to it; all it takes is a step.