Nexus Infinitas is the most important example of apocalyptic literature written on the Earth since Saint John the Divine penned Revelation. Skeptical? Read it and discover the truth—or be left behind.

In this third volume of Collected Essays, Peter Damian Fehlner traces the Franciscan Marian-ecclesiological vision and mission back to its sources in Francis and Clare of Assisi. Fehlner shows how the quintessentially Franciscan theological themes and their elaboration down the centuries find their roots in the Poverello, the “Man totally Catholic and Apostolic,” as well as in Clare, the “imprint of the Mother of God.” In thoroughly Trinitarian fashion, Fehlner unveils Francis’s understanding of Mary—type and exemplar, mother and member of the church—as the firstborn daughter of the Father, Mother of the Son, and Spouse of the Holy Spirit. Mary is, therefore, primordially the Virgin-made-Church. Flowering out into the Franciscan theological tradition, this volume features two studies where Fehlner unpacks this Franciscan, Marian-ecclesiological tradition in systematic and mystical theology. Fehlner takes St. Francis Anthony Fasani, his Conventual predecessor, as his guide in the spiritual exegesis of Scripture and Catholic devotion, unveiling the ecclesiological and Marian implications of the Song of Songs. In systematics, Fehlner analyzes the love song of the Son for his church in his definitive study of Bonaventure’s understanding of charity and the divine missions in the church.

The Critical Nexus confronts an important and vexing enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, Charles Atkinson creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the sixth to the twelfth century. Out of this examination emerges the central point behind the problem: the tone-system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and that this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone-system, mode, and notation, Atkinson promises new and far-reaching insights into what mode meant to the medieval musician and how the system responded to its inherent limitations. Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. Atkinson builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation. This book will be of interest to all musicologists, music theorists working on mode, early music specialists, chant scholars, and medievalists interested in music.

This fourth book in the Nexus series offers papers that further broaden the horizons of studies in architecture and mathematics.