Commenting on the Bible was the principal way in which early medieval Christians conducted the work of theology; commentaries also open a window for modern readers onto the way in which these people strove to understand humanity, the world and history through complex acts of layered winterpretation and cross-referencing within the sacred text. Bede's commentary on Luke, composed in the first half of the 710s, is a turning point in his career as an exegete. It is ambitious in its length, but also in its subject-matter, because the life of Christ is the key to the meaning of the entire Bible. To expound a Gospel also entails engaging with a formidable body of commentary by the Church Fathers. In Bede's case, the Luke commentary marks as well the moment when he publically asserts his own intellectual authority by displaying his mastery of the Patristic tradition, and by deftly confronting criticisms of his earlier works. Finally, Bede's treatment of Luke was highly influential in the Carolingian Renaissance, and in the compilation of the Glossa Ordinaria in the twelfth century. This translation is thus an important resource for historians, as well as scholars interested in the role of the Bible in medieval culture.

This is the first English translation of the Venerable Bede's commentary on the book of Genesis. Dealing as it does with the biblical account of the creation of the world and of mankind, and of mankind's fall from grace and exile into the life of time, On Genesis offers essential insights into Bede's fundamental assumptions as a theologian, historian, and scientific cosmologist. Bede's role in laying the foundations of the modern world cannot be overemphasised. From his quantitative approach to questions of science to his introduction of the Anno Domini system of dating and his text-critical methods of biblical analysis, he anticipated and influenced modern ways of thinking. Bede regarded the opening chapters of Genesis as the foundation narrative of the world. From it Bede derived the theoretical basis for his scientific treatises and his notion of the English as a chosen people of God, which informs the Ecclesiastical History. This translation and introduction attempts to make Bede's commentary accessible to anyone with an interest in his work.

For scholars in the European Middle Ages, Isidore, bishop of Seville (560? - 636) was one of the most influential authorities for understanding the natural world. Isidore's On the Nature of Things is the first work on natural science by a Christian author that is not a commentary on the creation story in Genesis. Instead, Isidore adopted a classical model to describe the structure of the physical cosmos, and discuss the principles of astronomy, physics, geography, meteorology and time-reckoning. Into this framework he incorporated an eclectic array of ancient and patristic erudition. The fact that On the Nature of Things presents an essentially Greco-Roman picture of the universe, but amplified with Christian reflections and allegories, played a crucial role in the assimilation of ancient science into the emerging culture of the Middle Ages. It exerted a deep and long-lasting influence on scholars like Bede, one of whose earliest works was an adaptation of On the Nature of Things. On the Nature of Things provides a new window into vital intellectual currents, as yet largely unexplored, flowing from Visigothic Spain into Celtic Ireland, Anglo-Saxon England, and Merovingian France. This is the first translation of this work into English. The introduction places the work in the context of Isidore's milieu and concerns, and traces the remarkable diffusion of his book. A chapter-by-chapter commentary explains how Isidore selected and transformed his source material, and added his own distinctive features, notably the diagrams that gave this work its medieval name The Book of Wheels (Liber rotarum).

For scholars in the European Middle Ages, Isidore, bishop of Seville (560? - 636) was one of the most influential authorities for understanding the natural world. Isidore's On the Nature of Things is the first work on natural science by a Christian author that is not a commentary on the creation story in Genesis. Instead, Isidore adopted a classical model to describe the structure of the physical cosmos, and discuss the principles of astronomy, physics, geography, meteorology and time-reckoning. Into this framework he incorporated an eclectic array of ancient and patristic erudition. The fact that On the Nature of Things presents an essentially Greco-Roman picture of the universe, but amplified with Christian reflections and allegories, played a crucial role in the assimilation of ancient science into the emerging culture of the Middle Ages. It exerted a deep and long-lasting influence on scholars like Bede, one of whose earliest works was an adaptation of On the Nature of Things. On the Nature of Things provides a new window into vital intellectual currents, as yet largely unexplored, flowing from Visigothic Spain into Celtic Ireland, Anglo-Saxon England, and Merovingian France. This is the first translation of this work into English. The introduction places the work in the context of Isidore's milieu and concerns, and traces the remarkable diffusion of his book. A chapter-by-chapter commentary explains how Isidore selected and transformed his source material, and added his own distinctive features, notably the diagrams that gave this work its medieval name The Book of Wheels (Liber rotarum).

This book argues that the formal art of the Old English epic Beowulf is shaped and determined by the poetic language which the poet inherited from the traditional, oral culture of Anglo-Saxon England. The patterns of metre and alliteration exhibited in the poem were not imposed by the poet on his language, but were part of the language which he spoke, the rules of which constituted his metrical grammar. Professor Kendall investigates the constraints of syntax, metre and alliteration which govern the formal art of Beowulf. He shows how the half-lines of the poem, which are the basic units of composition, are marked by the metrical grammar for placement in the verse clause; he also establishes conditions for the presence or absence of alliteration, which enable him to say whether in any given instance the alliterative device is a mandatory function of the rules of the metrical grammar or an option exercised by the poet. Professor Kendall alters traditional views of metre; he concludes the book with a complete index of scansion according to the rules he has established.

This book argues that the formal art of the Old English epic Beowulf is shaped and determined by the poetic language which the poet inherited from the traditional, oral culture of Anglo-Saxon England. The patterns of metre and alliteration exhibited in the poem were not imposed by the poet on his language, but were part of the language which he spoke, the rules of which constituted his metrical grammar. Professor Kendall investigates the constraints of syntax, metre and alliteration which govern the formal art of Beowulf. He shows how the half-lines of the poem, which are the basic units of composition, are marked by the metrical grammar for placement in the verse clause; he also establishes conditions for the presence or absence of alliteration, which enable him to say whether in any given instance the alliterative device is a mandatory function of the rules of the metrical grammar or an option exercised by the poet. Professor Kendall alters traditional views of metre; he concludes the book with a complete index of scansion according to the rules he has established.

The Venerable Bede composed On the Nature of Things (De natura rerum) and On Times (De temporibus) at the outset of his career, about AD 703. Bede fashioned himself as a teacher to his people and his age, and these two short works show him selecting, editing, and clarifying a mass of difficult and sometimes dangerous material. He insisted that his reader understand the mathematical and physical basis of time, and though he was dependent on his textual sources, he also included observations of his own. But Bede was also a Christian exegete who thought deeply and earnestly about how salvation-history connected to natural history and the history of the peoples of the earth. To comprehend his religious mentality, we have to take on board his views on "science" -- and vice versa. On the Nature of Things is a survey of cosmology. Starting with Creation and the universe as a whole, Bede reads the cosmos downwards from the heavens, through the atmosphere, to the oceans and rivers of earth. This order (recapitulating the four elements or fire, air, water and earth) was derived from his main source, Isidore of Seville's On the Nature of Things. However, Bede separated out Isidore's chapters on time, and dealt with them in On Times. On Times, like its "second, revised and enlarged edition" The Reckoning of Time (De temporum ratione), works upwards from the smallest units of time, through the day and night, the week, month and year, to the world-ages. Bede's innovation is to introduce a practical manual of Easter reckoning, or computus, into this survey. Hidden beneath the matter-of-fact surface of the work is an intense polemic about the correct principles for determining the date of Easter -- principles which in Bede's view are bound up with both the integrity of nature as God's creation, and the theological significance of Christ's death and resurrection. In these works Bede re-united cosmology and time-reckoning to form a unified science of computus that would become the framework for Carolingian and Scholastic basic scientific education.

The Venerable Bede composed On the Nature of Things (De natura rerum) and On Times (De temporibus) at the outset of his career, about AD 703. Bede fashioned himself as a teacher to his people and his age, and these two short works show him selecting, editing, and clarifying a mass of difficult and sometimes dangerous material. He insisted that his reader understand the mathematical and physical basis of time, and though he was dependent on his textual sources, he also included observations of his own. But Bede was also a Christian exegete who thought deeply and earnestly about how salvation-history connected to natural history and the history of the peoples of the earth. To comprehend his religious mentality, we have to take on board his views on "science" -- and vice versa. On the Nature of Things is a survey of cosmology. Starting with Creation and the universe as a whole, Bede reads the cosmos downwards from the heavens, through the atmosphere, to the oceans and rivers of earth. This order (recapitulating the four elements or fire, air, water and earth) was derived from his main source, Isidore of Seville's On the Nature of Things. However, Bede separated out Isidore's chapters on time, and dealt with them in On Times. On Times, like its "second, revised and enlarged edition" The Reckoning of Time (De temporum ratione), works upwards from the smallest units of time, through the day and night, the week, month and year, to the world-ages. Bede's innovation is to introduce a practical manual of Easter reckoning, or computus, into this survey. Hidden beneath the matter-of-fact surface of the work is an intense polemic about the correct principles for determining the date of Easter -- principles which in Bede's view are bound up with both the integrity of nature as God's creation, and the theological significance of Christ's death and resurrection. In these works Bede re-united cosmology and time-reckoning to form a unified science of computus that would become the framework for Carolingian and Scholastic basic scientific education.

Verse inscriptions in stone appeared in abundance on the facades of Romanesque churches in the eleventh and twelfth centuries. Marking the place where medieval worshippers were transported from secular to sacred space, portal verse inscriptions provide important, and often overlooked, insights into the dynamic function of the portals and their art. The Allegory of the Church is the first full-length study of Romanesque verse inscriptions in the context of church portals and portal sculpture, and is the product of a twenty-year study. Calvin B. Kendall demonstrates how these inscriptions served to express the role of the church building as a concrete allegory of Christ and the Church. Describing them in detail, he traces the history and nature of the changes in allegorical interpretation of the inscriptions until, as medieval assumptions about language and rhetoric changed, they were finally abandoned by Gothic artists. An exemplary work of interdisciplinary scholarship, The Allegory of the Church includes a detailed catalogue of Romanesque verse inscriptions.