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‘The Peace of God, which passeth all understanding, keep your hearts and minds in the knowledge and the love of God, and of his Son Jesus Christ our Lord.’ The Book of Common Prayer, with local variations, is still used in churches inside and outside the Anglican Communion in over 50 countries and in over 150 languages. The Rise and Fall of the Incomparable Liturgy is the first study to trace the evolution and reception of the BCP, from the Elizabethan settlement of 1559 to the Royal Commission report of 1906, when work on a new prayer book was begun. Written by a world authority, here is an illuminating and highly readable account of the ascent and decline of a world classic, which still informs our common language as well as much of the great literature of the past four centuries. It will appeal not only to students of liturgy but also to general readers interested in history, literature, theology and cultural studies.
For over a hundred years, Anglican church buildings in every part of the world were dominated by a single idea of what churches should look like and how they should be arranged inside. Only since Vatican II has the dominance of this idea been finally overthrown. Thousands of churches still reflect the architectural dogmas of the Cambridge Camden Society. Millions of worshippers still imbibe the theology so effectively promoted by this group through its powerful influence on the arrangement of church interiors and the style of such buildings. And many of these architectural images of what is the nature of the Church itself have proved to be the most stubborn resisters of Vatican II reforms. The Cambridge Camden Society was so successful in changing the outward aspects of Anglican worship because it had specific ideas as to how churches should be arranged. The Society's infatuation with a certain period of gothic architecture and with the whole medieval 'cultus' brought about drastic changes in worship according to the 'Book of Common Prayer' without changing a single letter of the prayer book itself. The members of the Society led the way not only in the revival of medieval architecture but also of vestments and ceremonial. Though much of the Cambridge Camden theology reflects that of the Oxford Movement, Dr. White shows both parallels and contrasts between the aims of Oxford tractarians and Cambridge ecclesiologists. Architecture proved to be every bit as effective a form of propaganda as tracts, and a good deal more permanent. The public, at first hostile, eventually became receptive to the ideals of the Cambridge Movement. The measure of the Movement's success is seen in almost all Anglican (and many Protestant) churches built or remodelled between 1840 and the 1960s. This is a valuable contribution to nineteenth-century studies, especially to the visual history of the period.
First published in 1997, this book asks how an ecclesiastical climate was created in which Anglican choral worship could flourish in the mid-nineteenth century. Dale Adelmann draws on a wide range of sources, including diaries, correspondence, pamphlets, newspapers and critical writings, to answer this question. His research reveals the hitherto unrecognized extent of the influence of the Cambridge Camden Society (1839-62) in the revival of Anglican choral worship, in particular through the auspices of its periodical The Ecclesiologist, but also through the dedicated efforts of the remarkable individuals who promoted the Society’s aims in their writings, lectures, and in their own parish churches. The study examines the arguments that were framed in defence of choral worship and the often heated debates they initiated between both individuals and institutions. In so doing, it provides a re-evaluation of the place of Anglican choral worship in mid-nineteenth-century musicological and ecclesiastical history, and demonstrates the role of Cambridge ecclesiologists as primary force behind its rival.