Symbols of the Christian Faith is an illustrated guide to the major visual symbols used by the Christian church throughout history. These stylized illustrations, designed by artist Alva William Steffler, are intended to provide usable, up-to-date resources for contemporary church worship and Christian education. Throughout church history symbols have been used to aid worship and to communicate difficult spiritual ideas. Steffler here collects these symbols, from early Christian catacomb art to the present, offering fresh graphic interpretations of old visual forms. The accompanying text notes the biblical sources for the various symbols and traces their use in church tradition and their links to Greco-Roman culture. Extensive glossaries and indexes round out the book. Broadly inclusive and sensitive to the perspectives of every church tradition, this volume will be an invaluable resource for churches using Christian art as well as for general readers curious about the meaning of common Christian symbols.

"Nicholas Cabasilas' Commentary on the Divine Liturgy is a remarkable product of Byzantium's last great flowering of theology. The work has long been essential reading for specialists in the fields of comparative liturgy and history of liturgy, since Cabasilas comments in detail on the Byzantine rite of his day and is able to draw comparisons with the Roman liturgy as well. The work is also invaluable for all those who wish to understand more about the theory and practice of worship in the Orthodox Church. In this edition the text of the Commentary, translated by J. M. Hussey and P. A. McNulty, has been supplemented by a brief foreword which places Cabasilas' work in its historical context. A helpful introduction by R. M. French describes the celebration of the liturgy in the Orthodox Church."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This resource helps you prepare a reverent, artful, and interactive experience of the symbols of the liturgy followed by reflection on their meaning for groups of adults or teens.

In our post-modern, technological and visual age, there seems to be a new fascination with symbols. And in such an age as this, it is not enough just to understand and use the written liturgy, whether old or new, like Common Worship. In worship and in our pastoral rites, the preoccupation with texts has to be balanced with the vital liturgical language of symbols. Never before has there been such scope for the use of symbols as can be found in the family of Common Worship services. Not simply visual aids, liturgical symbols are suggestive and evocative; they belong to a whole matrix of imagery in Scripture and in the prayer texts that accompany the ritual acts of worship. Each chapter of Symbols and Worship provides theological and historical background to the symbols discussed (water, oil, light and incense), as well as practical guidance on the place and use of these symbols in the whole range of Common Worship services.

This essential guidebook explains the liturgical calendar and the signs, symbols, gestures, vestments, and the architectural and sacramental elements of the liturgical church-an intriguing guide to all elements of Christian liturgy. A selection of the Episcopal and Religious Book Clubs.

Includes 53 Christian symbols and their meaning and historical significance.

The book is going through its biggest revolution since Gutenberg. Thanks to computer tools and electronic publication, the concept and realisation of critical editions are being rethought. David C. Parker looks at how new methodology changes what an edition is for and how we use it, using the example of the New Testament texts.

This fascinating and lively book provides the first comprehensive discussion of the production, circulation, and use of books in early Christianity. It explores the extent of literacy in early Christian communities; the relation in the early church between oral tradition and written materials; the physical form of early Christian books; how books were produced, transcribed, published, duplicated, and disseminated; how Christian libraries were formed; who read the books, in what circumstances, and to what purposes. Harry Y. Gamble interweaves practical and technological dimensions of the production and use of early Christian books with the social and institutional history of the period. Drawing on evidence from papyrology, codicology, textual criticism, and early church history, as well as on knowledge about the bibliographical practices that characterized Jewish and Greco-Roman culture, he offers a new perspective on the role of books in the first five centuries of the early church.

Within the Eastern tradition of Christianity, the eikon, or religious image, has long held a place of honor. In the greater part of Western Christianity, however, discomfort with images in worship, both statues and panel icons, has been a relatively common current, particularly since the Reformation. In the Roman Catholic Church, after years of using religious statues, the Second Vatican Council’s call for “noble simplicity” in many cases led to a stripping of images that in some ways helped refocus attention on the eucharistic celebration itself but also led to a starkness that has left many Roman Catholics unsure of how to interact with the saints or with religious images at all. Today, Western interest in panel icons has been rising, yet we lack standards of quality or catechesis on what to do with them. This book makes the case that icons should have a role to play in the Western Church that goes beyond mere decoration. Citing theological and ecumenical reasons, Visel argues that, with regard to use of icons, the post–Vatican II Roman Catholic Church needs to give greater respect to the Eastern tradition. While Roman Catholics may never interact with icons in quite the same way that Eastern Christians do, we do need to come to terms with what icons are and how we should encounter them.