{"title":"Book Review: Introduction to Eastern Christian Liturgies","authors":"Liam M. Tracey","doi":"10.1177/00211400231182278a","DOIUrl":null,"url":null,"abstract":"include colour images of the illustrations which Ables discusses at some length. For instance, in chapter five, which opens with a discussion of two images from the Rothschild Canticles, an early-14th-century devotional book, he refers to the orange flame of the virgins’ lamps recalling the red of wine (p. 104), but this cannot be fully appreciated without the colour image. Meanwhile, in an endnote in chapter six, Ables specifically acknowledges this issue by referring the reader to where she can find a colour version online of a panel of altar paintings by Jörg Ratgeb from the parish church of Herrenberg. These observations aside, Travis Ables has succeeded in producing a thought-provoking study, confidently charting intellectual waters that are not always easy to navigate. It will certainly need to be reckoned with by all future scholars writing on atonement theology.","PeriodicalId":55939,"journal":{"name":"Irish Theological Quarterly","volume":"88 1","pages":"290 - 294"},"PeriodicalIF":0.2000,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Irish Theological Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/00211400231182278a","RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"RELIGION","Score":null,"Total":0}
引用次数: 0
Abstract
include colour images of the illustrations which Ables discusses at some length. For instance, in chapter five, which opens with a discussion of two images from the Rothschild Canticles, an early-14th-century devotional book, he refers to the orange flame of the virgins’ lamps recalling the red of wine (p. 104), but this cannot be fully appreciated without the colour image. Meanwhile, in an endnote in chapter six, Ables specifically acknowledges this issue by referring the reader to where she can find a colour version online of a panel of altar paintings by Jörg Ratgeb from the parish church of Herrenberg. These observations aside, Travis Ables has succeeded in producing a thought-provoking study, confidently charting intellectual waters that are not always easy to navigate. It will certainly need to be reckoned with by all future scholars writing on atonement theology.