Originally published in 1934, this book examines the Modernist movement in Roman Catholicism from its beginnings around 1890 until its conclusion around 1910. Vidler examines the pre-Modernist condition of Catholicism in France, Germany, Italy and England and the outcome of the modernist movement both within and outside of the Catholic Church. This book will be of value to anyone with an interest in this tumultuous time in the development of Catholic theology.

Between the Politics of Mysticism and the Mysticism of Politics traces the dialectic of 'the mystical' and the political' from both a theological and an historical perspective. It presents the dialectic as a hermeneutic for the rise of the new ecclesial communities within the Roman Catholic Tradition and suggests it as the framework by which a trajectory for Christian holiness might emerge in the 21st century.

The oldest written tradition of European music, the art we know as Gregorian chant, is seen from an entirely new perspective in Katherine Bergeron's engaging and literate study. Bergeron traces the history of the Gregorian revival from its Romantic origins in a community of French monks at Solesmes, whose founder hoped to rebuild the moral foundation of French culture on the ruins of the Benedictine order. She draws out the parallels between this longing for a lost liturgy and the postrevolutionary quest for lost monuments that fueled the French Gothic revival, a quest that produced the modern concept of "restoration." Bergeron follows the technological development of the Gregorian restoration over a seventy-year period as it passed from the private performances of a monastic choir into the public commodities of printed books, photographs, and Gramophone records. She discusses such issues as architectural restoration, the modern history of typography, the uncanny power of the photographic image, and the authority of recorded sound. She also shows the extent to which different media shaped the modern image of the ancient repertory, an image that gave rise to conflicting notions not only of musical performance but of the very idea of music history.