"Andrew Rublev painted this icon not only to share the fruits of his own meditation on the mystery of the Holy Trinity but also to offer his fellow monks a way to keep their hearts centered in God while living in the midst of political unrest. The more we look at this holy image with the eyes of faith, the more we come to realize that it is painted not as a lovely decoration for a convent church, nor as a helpful explanation of a difficult doctrine, but as a holy place to enter and stay within. As we place ourselves in front of the icon in prayer, we come to experience a gentle invitation to participate in the intimate conversation that is taking place among the three divine angels and to join them around the table. The movement from the Father toward the Son and the movement of both Son and Spirit toward the Father become a movement in which the one who prays is lifted up and held secure. . . .

Through the contemplation of this icon we come to see with our inner eyes that all engagements in this world can bear fruit only when they take place within this divine circle. The words of the psalm, "The sparrow has found its home at last. . . . Happy are those who live in your house" (Ps 84: 3,4) are given new depth and new breadth; they become words revealing the possibility of being in the world without being of it. We can be involved in struggles for justice and in actions for peace. We can be part of the ambiguities of family and community life. We can study, teach, write and hold a regular job. We can do all of this without ever having to leave the house of love. . . . Rublev's icon gives us a glimpse of the house of perfect love" (Nouwen, Henri J. M. Behold the Beauty of the Lord: Praying with Icons. Notre Dame, Indiana: Ave Maria Press, 1987. p. 20-22)