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A Spiritual Home explores congregational life inside British and American Reformed churches between 1830 and 1915. At a time when scholars have become interested in the day-to-day experience of local congregations, this book reaches back into the nineteenth century, a critically formative period in Anglo-American religious life, to examine the historical roots of congregational life.Taking the perspective of the laity, Cashdollar ranges widely from worship and music to fund-raising and administration, from pastoral care to social work, from prayer meetings to strawberry festivals, from the sanctuary to the kitchen. Firmly rooted in broader currents of gender, class, notions of middle-class respectability, increasing expectations for personal privacy, and patterns of professionalization, he finds that there was a gradual shift in emphasis during these years from piety to fellowship. Based on records, publications, and memorabilia from about 150 congregations representing eight denominations, A Spiritual Home gives us a comprehensive, composite portrait of religious life in Victorian Britain and America.
For nearly eighteen centuries, two fundamental spatial plans dominated Christian architecture: the basilica and the central plan. In the 1880s, however, profound socio-economic and technological changes in the United States contributed to the rejection of these traditions and the development of a radically new worship building, the auditorium church. When Church Became Theatre focuses on this radical shift in evangelical Protestant architecture and links it to changes in worship style and religious mission. The auditorium style, featuring a prominent stage from which rows of pews radiated up a sloping floor, was derived directly from the theatre, an unusual source for religious architecture but one with a similar goal-to gather large groups within range of a speaker's voice. Theatrical elements were prominent; many featured proscenium arches, marquee lighting, theatre seats, and even opera boxes. Examining these churches and the discussions surrounding their development, Jeanne Halgren Kilde focuses on how these buildings helped congregations negotiate supernatural, social, and personal power. These worship spaces underscored performative and entertainment aspects of the service and in so doing transformed relationships between clergy and audiences. In auditorium churches, the congregants' personal and social power derived as much from consumerism as from piety, and clerical power lay in dramatic expertise rather than connections to social institutions. By erecting these buildings, argues Kilde, middle class religious audiences demonstrated the move toward a consumer-oriented model of religious participation that gave them unprecedented influence over the worship experience and church mission.