This liturgical resource will help guide pastors and other church workers as they help church members through the bereavement process.

The Presbyterian Supplemental Liturgical Resource (SLT) series includes liturgies that were used on a trial basis in preparation for the development of the "Book of Common Worship." Though superseded by the "Book of Common Worship," SLR resources remain valuable, both for the variety of liturgical texts they contain and for the commentary on the text, which contains rich historical, theological, and practical background.

"A Singing Faith" is a book of inspiring hymns composed by renowned hymn writter Jane Parker Huber. It includes an introduction in which Huber discusses her songwriting process, commentaries on the hymns, and a topical index.

The articles on Eucharistic liturgy given here are reprinted from the pages of Worship magazine. This expanded edition of the 1982 printing includes three additional essays: Justice and the Eucharist" by R. Kevin Seasoltz, O.S.B.; "Stipends and Eucharistic Praxis" by M. Francis Mannion; and "Stipends in the New Code of Canon Law" by John M. Huels, O.S.M.

The presumed mystery" of liturgical functions is swept away as Seale gives basic, practical steps leading to an effective liturgy.

A manual of ideas and experiences emphasizing the fact that a good presider must be aware of what will happen at every planned moment of a liturgical celebration.

This well-known and respected work on the eucharistic celebration has been updated and revised. The editor Monsignor Maas-Ewerd has incorporated the insights of recent research, updated the bibliography, and re-formulated many passages in light of some important changes in thought and language since the first edition.

"The Eucharist: Essence, Form, Celebration" helps readers gain an understanding of correct form for celebration of the eucharistic liturgy in light of the renewals of Vatican Council II. It is therefore an explanation of the Mass, as Pius Parsch, to whom the first edition was dedicated, understood it. It is an explanation both of the biblical foundations and of the historical development of the liturgy within its two-thousand-year tradition. Thus, Maas-Ewerd maintains that we must inquire into both aspects - Jesus' foundational intention and the Church's long tradition of celebrating the Lord's legacy - to obtain a clear picture of the enduringly valid form of the Mass at all times, including its present realization.

In the foreword to the first edition, Johannes Emminghaus wrote that, despite the many content and language changes since the first edition, Parsch's fundamental principle was correct, and it remains so today: the essence or nature of the liturgy can only be explained on the basis of Christ's institution (as witnessed in Scripture) and the traditional teaching of the Church. Its form, in turn, with its many changes and its high and low points, is explicable also through Scripture and history; but the manner of its celebration can only be explained through the form as we know it and especially through the concrete faith of people.

The intent of "The Eucharist: Essence, Form, Celebration" is practical: it is meant as an aid to an appropriate and responsible celebration of the congregational Eucharist. Readers - those in ministry, teachers, catechists, and members of parish liturgical committees and study groups, as well as those interested in Church history - are invited to an active participation, one that bears fruit because it stems from faith.

Maas-Ewerd maintains that our task now is to live with the renewed liturgy, to integrate it more fully into our lives, and at the same time understand and celebrate it as a sign of salvation and as the Church's self-expression. "The Eucharist: Essence, Form, Celebration" encourages this process.

Part One is "The Fundamental Structure of the Mass Through the Ages." Chapters are: "Fundamental Structure of the Mass," and "The Continuing Identity of the Mass Through Many Changes." Part Two is "The Celebration of Mass in Its Current Form." Chapters are: "The Celebration Begins," "Liturgy of the Word," "The Celebration of the Eucharist," and "The Conclusion of the Mass." A reminiscence of Professor Johannes H. Emminghaus (1919-1989), a bibliography, appendices, and an index are also included."

(Re-released as part of the "Classics in Liturgy" series) Originally published as "Early Sources of the Liturgy, " this book presents the principal texts of the Christian liturgy from its beginnings to the fifth century. Included among the main sources treated are liturgical texts of the Jewish tradition; doxologies, hymns, and blessings of the New Testament; the Didache; the Letter to the Corinthians of Clement of Rome; the Apostolic Tradition of Hippolytus of Rome; the Anaphora of Addai and Mari; the Didascalia of the Apostles; the Euchology of Serapion.

Later witnesses include the Strasbourg Papyrus; the Apostolic Constitutions; the Euchology of Der Balyzeh; the Catechesis of Cyril of Jerusalem.

"Lucien Deiss, CSSp, for ten years a professor of theology and Scripture at the Grand Scholastica de Chevilly-Larue, is one of the pioneers of the biblical and liturgical renewal. He worked for the reform brought about by Vatican II and participated in the ecumenical translation of the Bible. He is the author of numerous books, including "Celebration of the Word; Springtime of the Liturgy; The Mass; "and "Joseph, Mary, Jesus, " published by The Liturgical Press. He has composed many liturgical songs, some of which have been translated into the principal world languages, including Chinese."

In Moses the Egyptian, Herbert Broderick analyzes the iconography of Moses in the famous illuminated eleventh-century manuscript known as the Illustrated Old English Hexateuch. A translation into Old English of the first six books of the Bible, the manuscript contains over 390 images, of which 127 depict Moses with a variety of distinctive visual attributes. Broderick presents a compelling thesis that these motifs, in particular the image of the horned Moses, have a Hellenistic Egyptian origin. He argues that the visual construct of Moses in the Old English Hexateuch may have been based on a Late Antique, no longer extant, prototype influenced by works of Hellenistic Egyptian Jewish exegetes, who ascribed to Moses the characteristics of an Egyptian-Hellenistic king, military commander, priest, prophet, and scribe. These Jewish writings were utilized in turn by early Christian apologists such as Clement of Alexandria and Eusebius of Caesarea. Broderick's analysis of this Moses imagery ranges widely across religious divides, art-historical religious themes, and classical and early Jewish and Christian sources. Herbert Broderick is one of the foremost historians in the field of Anglo-Saxon art, with a primary focus on Old Testament iconography. Readers with interests in the history of medieval manuscript illustration, art history, and early Jewish and Christian apologetics will find much of interest in this profusely illustrated study.

Those interested in Christian worship have tended to limit their attention to three areas: (1) the history of rites and texts; (2) the theological meaning of specific liturgical acts; and (3) the nature of ritual speech and gesture. But there has been little attention paid to the interaction between Christian worship and its immediate social context. This book will argue that one of the primary influences on the social context of Christian worship is the pervasive presence of technology and technological process, and that these have had a profound effect on liturgical theory and practice.

After a survey of some of the important work being done in the history and philosophy of technology, White goes on to cite specific historical examples of the creative interplay between technological processes and Christian worship. This will include such things as the pasteurization of grape juice for the use at communion and the changes in funeral rites which were made necessary by the practice of embalming. The argument will then turn to the way in which individuals who "think technologically" approach the act of Christian worship today, and then to a discussion of the technological influences at work on those involved in preparing services of public worship. This last section will describe how technology has affected the way in which every mainline denomination produces its official service materials, as well as how individual congregations appropriate liturgical change.

In the final section of the book, one issue remains to be addressed: Is technology a dangerous social force, against which Christian worship can be a potent weapon? Or, on the other hand, is technology an inextricable element in a contemporary society to which Christian worship must accommodate itself in order to be "relevant"?

What makes Christian worship both true and relevant to ever-changing human circumstances? How can our gathering about the Scriptures, the Table of the Lord, and the waters of baptism shape and express authentic Christian faith in the world of everyday life? In this book, Don Saliers finds a fresh way of answering these questions by exploring four "senses" of God: awe, delight, truth, and hope. Why are wonderment, surprise, truthfulness, and expectancy so often missing or diminished in Christian liturgy today, whether Protestant or Roman Catholic, "high church" or "low church", "traditional" or "contemporary"? These are essential qualities of both worship and life. Saliers contends that we are still restless for communion with God, and suggests how these essentials may be rediscovered by every worshiping congregation. At stake are the means of grace received from Christ, attested to in the Scriptures and shown in every faithful worshiping assembly.

This collection of ten essays constitutes the proceedings of a two-day conference held at Harvard in October 2007. The conference focused on three medieval manuscripts of Ambrosian chant owned by Houghton Library. The Ambrosian liturgy and its music, practiced in and around medieval Milan, were rare regional survivors of the Catholic Church s attempt to adopt a universal Roman liturgy and the chant now known as Gregorian. Two of the manuscripts under scrutiny had been recently acquired (one perhaps the oldest surviving source of Ambrosian music), and the third manuscript, long held among the Library s collections of illuminated manuscripts, had been newly identified as Ambrosian.

The generously illustrated essays gathered here represent the work of established experts and younger scholars. Together they explore the manuscripts as physical objects and place them in their urban and historical contexts, as well as in the musical and ecclesiastical context of Milan, Italy, and medieval Europe.

The plays of Shakespeare, the Authorized version of the Bible and the Book of Common Prayer, all produced in the late 16th/early 17th centuries, are the three dounding texts of the English nation and its language. Not only do they share a beauty and a power of style which have never been equalled: their influence on Anglophone culture remains profound. Originally produced by Archbishop Cranmer and his allies to bolster the Tudor secession from Catholicism, the Pray Book rapidly took on a life of its own. Until the present century, most Anglicans knew long stretches of the text by heart. It invaded the style of 17th-century p oets and even 19th century novelists like George Elliot. It still colours our language and our way of feeling today, though we hardly know it. In recent years the Prayer Book has been under attack by modernizers and radicals within the church itself. On the 450th anniversary of its first appearance, the time has come to proclaim the value of this work once more and to recognize it for what it is: a liturgical and literary masterpiece.

A pair of leaves recently acquired by Houghton Library presents an opportunity to examine the illuminated sequence composed in honor of John the Evangelist, Verbum dei, deo natum, within its broader cultural context. Written and illuminated at the Dominican nunnery of Paradies bei Soest in Westfalia as part of a set of liturgical books that are among the most elaborate of their kind from the entire Middle Ages, the richly decorated fragments promise to transform our understanding of the special place of Christ's "beloved disciple" in 14th-century art, liturgy, theology, and mysticism. In addition to an introduction on art and liturgy in the Middle Ages, the interdisciplinary collection of essays includes contributions by musicologists, philologists and art historians.

Study of surviving Anglo-Saxon kalendars and pontificals contributes to our understanding of 10th-century England. `His work demonstrates the importance of these neglected sources for our understanding of the late Old English church.' HISTORY An important book of immense erudition. It brings into the open some major issues of Late Anglo-Saxon history, and gives a thorough overview of the detailed source material. When such outstanding learning is being used, through intuitive perception, to bear on the wider issues such as popular devotion and the reception of the monastic reform in England, and bold conclusions are bing drawn from such minutely detailed studies, there is no doubt that David Dumville's contribution in this area of study becomes invaluable. The sources for the liturgy of late Anglo-Saxon England have a distinctive shape. Very substantial survival has given us the possibility of understanding change and perceiving significant continuity, as well as identifying local preferences and peculiarities. One major category of evidence is provided by a corpus of more than twenty kalendars: some of these (and particularly those which have been associated with Glastonbury Abbey) are subjected to close examination here, the process contributing both negatively and positively to the history of ecclesiastical renewal in the 10th century. Another significant body of manuscripts comprises books for episcopal use, especially pontificals: these are examined here as a group, and their associations with specific prelates and churches considered. All these investigations tend to suggest the centrality of the church of Canterbury in the surviving testimony and presumptively therefore in the history of late Anglo-Saxon christianity. Historians' study of English liturgy in this period has heretofore concentrated on the development of coronation-rites: by pursuing palaeographical and textual enquiries, the author hassought to make other divisions of the subject respond to historical questioning. Dr DAVID N. DUMVILLE is Reader in the Early Mediaeval History and Culture of the British Isles at the University of Cambridge and a Fellow of Girton College.

New research into the liturgy of Anglo-Saxon history, with important implications for church history in general. The essays in this volume offer the fruits of new research into the liturgical rituals of later Anglo-Saxon England. They include studies of individual rites, the production, adaptation and transmission of texts, vernacular gospeltranslations, liturgical drama and the influence of the liturgy on medical remedies, poetry and architecture; also covered are the tenth-century Benedictine Reforms and the growth of pastoral care. It will be valuable for anyoneinterested in later Anglo-Saxon England as well as medieval liturgy and church history.

This volume, long delayed in its publication, furnishes an edition of two codexes discovered in 1910 by Dom Germain Morin. Bernhard Bischoff assigned the first of them [A] to the work of the bishop's scriptorium at Freising under the episcopate of either Hitto [811-836] or Erchambert [836-854], and the second [B] to the same origin, but around the year 900. Benedictiional A [ff. 1-14] contains 29 ans Benedictional B [ff. 15v-87v] 159 blessings of the episcopal type now introduced as Benedictiones Sollemnes into the Roman Rite. Like their modern cousins, many blessings on Clm 6430 are quadripartite, though a good number have more numerous members. A loose printed sheet addressed to members by Francis Wormald, Chairman of Council, spoke of the grave difficulties and delays that had attended publication, and warned that it had not been possible to take account of a study and partial edition of Benedictional A by Walter Durig, "Das Benedictionale Friburgense vetus", published in Archiv fur Liturgiewissenschaft 4 [1956] 223-244.

This tried and test collection is a must for anyone leading intercessions in the Church of England. It provides prayers for every Sunday, Holy Day and Festival, Years A, B and C that can be easily adapted to local contexts. The prayers reflect the Bible readings of the day, creating a more integrated act of worship. This expanded edition also contains forms of intercession for numerous extra occasions: * Principal Feasts - e.g. The Presentation of Christ in the Temple, the Transfiguration * Other Holy Days - e.g. The Birth of John the Baptist, Holy Cross Day * Red Letter Saints' Days * Pastoral occasions in the context of a Eucharist - baptism, confirmation, marriage, funeral, healing service, Remembrance * Installation of a new incumbent A trusted liturgical resource for many years, regularly used in hundreds of parishes, this continues to be the essential handbook for Lectionary-based intercessions.

An Anthology of Writings from 1483 to 1999 Firmly I Believe and Truly celebrates the depth and breadth of the spiritual, literary, and intellectual heritage of the Post-Reformation English Roman Catholic tradition in an anthology of writings that span a five hundred year period between William Caxton and Cardinal Hume. Intended as a rich resource for all with an interest in Roman Catholicism, the writings have been carefully selected and edited by a team of scholars with historical, theological, and literary expertise. Each author is introduced to provide context for the included extracts and the chronological arrangement of the anthology makes the volume easy to use whilst creating a fascinating overview of the modern era in English Catholic thought. The extracts comprise a wide variety writing genres; sermons, prayers, poetry, diaries, novels, theology, apologetics, works of controversy, devotional literature, biographies, drama, and essays. Includes writings by: John Colet, John Fisher, Thomas More, Robert Southwell, Philip Howard, Edmund Campion, John Gother, John Dryden, Mary Barker, Alexander Pope, Richard Challoner, Alban Butler, John Milner, Elizabeth Inchbald, Nicholas Wiseman, Margaret Mary Hallahan, A. W. N. Pugin, John Henry Newman, Henry Edward Manning, Frederick William Faber, Bertrand Wilberforce, Gerard Manley Hopkins, Vincent McNabb, Hilaire Belloc, Maurice Baring, G. K. Chesterton, R. A. Knox, J. R. R. Tolkien, Caryll Houselander, Evelyn Waugh, Graham Greene, John Bradburne, Cardinal Hume

This text represents a sort of customary or ordinal for the English court chapel in 1449, intended to govern the life of the 49 people, including choirboys, who were the staff of this peripatetic establishment. It was based on earlier drafts, and was sent to Alvaro Vaz d'Almada, a knight of the Garter, for the use of Afonso V of Portugal; it includes a copy of the English coronation rites.