Gregory Martin (1540–1582) was an Oxford scholar of Hebrew and Greek, one of the original dons of St. John’s College. He helped bring his fellow don St. Edmund Campion into the Church and later was tutor to St. Philip Howard. Fleeing from Queen Elizabeth I’s persecution in 1570, he entered William Cardinal Allen’s College at Douay and was ordained at Brussels in 1575. He then served the cardinal in various capacities, including as translator of the Latin Vulgate Bible into English. Although assisted by Allen himself and some fellow Oxonian exiles, he was crushed by the work and died of consumption as his New Testament was coming off the press at Rheims. The Old Testament printing at Douay could not be financed until 1609–1610, a year before the King James Version appeared. The present revision of his Psalms and Gospel Canticles strives to conserve his solemn and poetic English, as well as his fidelity to the literal sense. The Psalter is the fundamental liturgical prayer book for both Jews and Christians. Monastic tradition, as expressed in St. Benedict’s Rule, recommends the communal chanting of all 150 Psalms weekly. Since the Church today calls for Bible translations from the original languages, years of effort, using a multitude of resources, have gone into adjusting to the Hebrew and Greek. St. Ives affirmed the salvation of souls to be a supreme law. Therefore, to paraphrase St. Paul (Galatians 2:5 and 2 Thessalonians 3:13), we did not yield for a moment to weariness in well-doing, so that the truth of the gospel, as embedded in the Psalms (Luke 24:44) and Canticles, might abide for your sake.

With authorative contributions on the historical, stylistic, and iconographic context of this masterpiece of Carolingian Renaissance by R. McKitterick, K. van der Horst, K. Corrigan, F. Mütherich, and W. Noel, and including the catalogue of the 1996 exhibition on the Utrecht Psalter at the Museum Catharijneconvent, Utrecht.

Tracing the Gospel text from script to illustration to recitation, explores the ritual and architectural context of illuminated manuscripts.

"A book you will want to read and read again." -- Eugene Peterson Afterword by Bono. How can you find a more transparent, resilient, and fearless life of faith? Open and Unafraid by David Taylor takes readers on a profound journey through the book of Psalms, which has been a central pillar for God's people for millennia, across all walks of life and cultural contexts. In reading it, we discover that we are never alone in our joys, sorrows, angers, doubts, praises, or thanksgivings. In it, we learn about prayer and poetry, honesty and community, justice and enemies, life and death, nations and creation. As a professor, pastor, author, and producer of the short film Bono and Eugene Peterson: The Psalms, David Taylor has created an accessible guide to the psalms that resonates deeply with first-time and long-time Bible readers, poets and artists, devout believers and spiritual seekers alike. Open and Unafraid shows you how to read the psalms in a fresh, life-giving way, and so access the bottomless resources for life and experience the presence of God--in order to deepen discipleship and worship. Endorsements: "David Taylor’s take is 'open and unafraid' alright. He really goes there, exposing himself before God in the most beautiful way. He might have called the book Naked, because if you don’t find your own self feeling a little exposed here, it might be time to take some armor off." -- Bono, from the Afterword "A book that you will want to read and read again, and yet again, in order to discover the wisdom of the Psalms that shows us how to walk in the life-giving way of Jesus." -- Eugene Peterson, from the Foreword "A winsome, accessible entry into the Book of Psalms…Connects the poetry of the psalms to real-life wonders and struggles." -- Walter Brueggemann, Columbia Theological Seminary "Taylor reads these biblical prayers with Dr. Seuss, rappers, and other poets, along with theologians and the daily news....Guides readers in tracing out patterns of holy speech that have the potential for healing our hearts and our communities." -- Ellen F. Davis, Duke Divinity School "I have always loved the psalms--for their defiant devotion, their deep joy, and their brutal yet beautiful honesty. And after reading this fantastic book about them, I love them even more." -- Matt Redman, worship leader and song writer "In these fraught and fearsome days, we need the psalms more than ever. And we need more faithful artists and thinkers like David Taylor to mine the infinite gifts the psalms offer across the ages." -- Karen Swallow Prior, author of Fierce Convictions

In 1969, one year after Thomas Merton's tragic (and suspicious) death, John Howard Griffin was invited to write a biography of America's most famous monk, a monk who strangely had become a best-selling theologian. The result was Follow the Ecstasy: The Hermitage Years of Thomas Merton (1983). Both Merton and Griffin were converts to Catholicism, and they had become fast friends during Griffin's occasional retreats to the Trappist Abbey of Gethsemani where Merton was cloistered. As Robert Bonazzi writes in his Foreword, "With natural humility and intense spirituality, they taught each other by example and silence." Merton and Griffin were both photographers as well as writers. Griffin wrote about Merton's painting and photography in A Hidden Wholeness: The Visual World of Thomas Merton (1970). They also shared a fascination with the French theologian Jacques Maritain, as well as French modernists Pierre Reverdy, George Braque, and Albert Camus. Griffin fell ill before he could finish his biography of Merton, and the mantle of official biographer passed to Michael Mott, author of The Seven Mountains of Thomas Merton, an essential compendium of the monk's life. Yet Follow the Ecstasy gets closer to the man--a portrait made by one who shared not only personal histories and interests with Merton, but an "intuitive perspective of solitude."

Neil Cartlidge analyses a number of continental texts which are central to any study of medieval marriage - the De amore of Andreas Capellanus, Erec et Enide, and the letters of Abelard and Heloise - but it is the concern with marriage in the medieval literature of England in particular that forms the substance of this book.

"The Life of Christina of Markyate", a twelfth-century English recluse and later abbess of Markyate near St Albans, is a remarkable example of late medieval hagiography. Originally written at the time of or soon after Christina's death in the twelfth century, the Life is unusual both in its relative lack of miracles, and in the unknown author's decision to write Christina's life factually rather than gathering together stock elements from previously written saint's lives, as was the custom. First published in 1959, this edition contains the original Latin text with a facing-page English translation. It is accompanied by a comprehensive Introduction that discusses the codicological problems of the text, and provides other contextual and background material. 'One of the great virtues of this Life is its vivid revelations of Christina's personal circumstances, which must have been based on her own reminiscences. Although doubts have been cast on her veracity ... they do not affect the main lines of the extraordinary story she told the author.' From the General Editors' Note

R.C. Davis provided the classic account of the European medieval world; equipping generations of undergraduate and ‘A’ level students with sufficient grasp of the period to debate diverse historical perspectives and reputations. His book has been important grounding for both modernists required to take a course in medieval history, and those who seek to specialise in the medieval period. In updating this classic work to a third edition, the additional author now enables students to see history in action; the diverse viewpoints and important research that has been undertaken since Davis’ second edition, and progressed historical understanding. Each of Davis original chapters now concludes with a ‘new directions and developments’ section by Professor RI Moore, Emeritus of Newcastle University. A key work updated in a method that both enhances subject understanding and sets important research in its wider context. A vital resource, now up-to-date for generations of historians to come.

The Mind's Eye focuses on the relationships among art, theology, exegesis, and literature--issues long central to the study of medieval art, yet ripe for reconsideration. Essays by leading scholars from many fields examine the illustration of theological commentaries, the use of images to expound or disseminate doctrine, the role of images within theological discourse, the development of doctrine in response to images, and the place of vision and the visual in theological thought. At issue are the ways in which theologians responded to the images that we call art and in which images entered into dialogue with theological discourse. In what ways could medieval art be construed as argumentative in structure as well as in function? Are any of the modes of representation in medieval art analogous to those found in texts? In what ways did images function as vehicles, not merely vessels, of meaning and signification? To what extent can exegesis and other genres of theological discourse shed light on the form, as well as the content and function, of medieval images? These are only some of the challenging questions posed by this unprecedented and interdisciplinary collection, which provides a historical framework within which to reconsider the relationship between seeing and thinking, perception and the imagination in the Middle Ages.