This volume presents the medieval Eucharist in all its glory combining introductory essays on the liturgy, art, theology, architecture, devotion and theology from the early, high and late medieval periods.

One of the major figures of twentieth-century Catholic theology, Henri Cardinal de Lubac was known for his attention to the doctrine of the church and its life within the contemporary world. In Corpus Mysticum de Lubacinvestigates a particular understanding of the relation of the church to the eucharist. He sets out the nature of the church as communion, a doctrine that influenced the thinking of the Second Vatican Council. With the publication of Corpus Mysticum, this important text of contemporary Catholic ecclesiology and sacramental theology is available for the first time in an English translation. Its publication fills a significant gap in the range of de Lubac's works available to English-speaking scholars. It will be an important resource in the widespread and ongoing ecumenical discussions among Catholic, Protestant, and Orthodox theologians.

The Eucharist in the European Middle Ages was a multimedia event. First and foremost it was a drama, a pageant, a liturgy. The setting itself was impressive. Stunning artwork adorned massive buildings. Underlying and supporting the liturgy, the art and the architecture was a carefully constructed theological world of thought and belief. Popular beliefs, spilling over into the magical, celebrated that presence in several tumultuous forms. Church law regulated how far such practice might go as well as who was allowed to perform the liturgy and how and when it might be performed. This volume presents the medieval Eucharist in all its glory combining introductory essays on the liturgy, art, theology, architecture, devotion and theology. Contributors include: Celia Chazelle, Michael Driscoll, Edward Foley, Stephen Edmund Lahey, Lizette Larson-Miller, Ian Christopher Levy, Gerhard Lutz, Gary Macy, Miri Rubin, Elizabeth Saxon, Kristen Van Ausdall and Joseph Wawrykow.

A paperback edition of Miri Rubin's highly successful study of the meaning of the eucharist, c. 1150-1500.

"The enigmatic link between the natural and artistic beauty that is to be contemplated but not eaten, on the one hand, and the eucharistic beauty that is both seen (with the eyes of faith) and eaten, on the other, intrigues me and inspires this book. One cannot ask theo-aesthetic questions about the Eucharist without engaging fundamental questions about the relationship between beauty, art (broadly defined), and eating."—from Eating Beauty In a remarkable book that is at once learned, startlingly original, and highly personal, Ann W. Astell explores the ambiguity of the phrase "eating beauty." The phrase evokes the destruction of beauty, the devouring mouth of the grave, the mouth of hell. To eat beauty is to destroy it. Yet in the case of the Eucharist the person of faith who eats the Host is transformed into beauty itself, literally incorporated into Christ. In this sense, Astell explains, the Eucharist was "productive of an entire 'way' of life, a virtuous life-form, an artwork, with Christ himself as the principal artist." The Eucharist established for the people of the Middle Ages distinctive schools of sanctity—Cistercian, Franciscan, Dominican, and Ignatian—whose members were united by the eucharistic sacrament that they received. Reading the lives of the saints not primarily as historical documents but as iconic expressions of original artworks fashioned by the eucharistic Christ, Astell puts the "faceless" Host in a dynamic relationship with these icons. With the advent of each new spirituality, the Christian idea of beauty expanded to include, first, the marred beauty of the saint and, finally, that of the church torn by division—an anti-aesthetic beauty embracing process, suffering, deformity, and disappearance, as well as the radiant lightness of the resurrected body. This astonishing work of intellectual and religious history is illustrated with telling artistic examples ranging from medieval manuscript illuminations to sculptures by Michelangelo and paintings by Salvador Dalí. Astell puts the lives of medieval saints in conversation with modern philosophers as disparate as Simone Weil and G. W. F. Hegel.

In A Companion to Priesthood and Holy Orders in the Middle Ages, a select group of scholars explain the rise and function of priests and deacons in the Middle Ages. Though priests were sometimes viewed through the lens of function, the medieval priesthood was also defined ontologically–those marked by God who performed the sacraments and confected the Eucharist. While their role grew in importance, medieval priests continued to fulfil the role of preacher, confessor and provider of pastoral care. As the concept of ordination changed theologically the practices and status of bishops, priests and deacons continued to be refined, with many of these medieval discussions continuing to the present day.

The second of two volumes on special theological disputations from ca. 1230-1330 in which audience members asked the era's greatest intellectuals questions de quolibet, "about anything." The variety of the material and the authors' stature make the genre uniquely fascinating.