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Change is a universal phenomenon that commands the attention of the historian. For Christian theology, change raises special difficulties. How are we to reconcile the notion of the revelation of an unchanging God, who is abiding truth, with the notion of the pervading mutability of all human affairs? This problem, which is as old as religion, is intensified by the Christian belief in the fullness and finality of the revelation made through Jesus Christ. Professor Pelikan begins his study of historical theology with this basic problem and traces the origins of the difficulties that inevitably follow upon the admission of the possibility of change. His investigations lead him to critically examine the dogmatic solution of Vincent of Lerins, the later dialectical interpretation of Abelard, the approach of Thomas Aquinas, and finally, the nineteenth century's Adolf von Harnack to propose a working definition of Christian doctrine and of the task of the historical theologian. Pelikan's work is a perceptive and penetrating study of the interaction of history and theology. Theology must be historical because man is historical. To neglect history, or worse still, to renounce it, is to deny man and theology their common future. Historical Theology is a worthy introduction to a task that must continually seek to weld past, present, and future into a living whole.

This remarkable account by an award-winning historian details the responses to the fall of Rome by the church fathers, who set the pattern for interpreting this momentous event for all succeeding centuries.'To speak about the decline and fall of the Roman empire as'the social triumph of the ancient church'is to look at the events associated with that'memorable revolution'... through the eyes of the victors,'writes the author.'The thoroughness of the victors has often seen to it that there remains no other way for us to view those events. Not only are we--for this period as for so many others throughout most of human history--denied access to the mind of the common people as they watched this history in the making, such that we are forced to depend on the documents provided by various of the elites of the fourth and fifth centuries; but among the documents of those elites, only some have been permitted to survive.'Jerome, Christian humanist and translator of the Bible into Latin, represents an apocalyptic view of the crisis. Eusebius, court theologian and founder of church history, saw the fall of Rome as the sign of a new order, the'Christian Empire.'And Augustine, fountainhead of much of Western thought during the millennium that followed, used it as the basis for his City of God. The unifying theme in this historical panorama is the final revisionist view of the fall by its greatest historian, Edward Gibbon. All of these interpretations of the fall of Rome continue to live today and deeply influence our understanding of Western culture.

A sweeping account of the controversies surrounding the worship of images in the early Byzantine churchIn 726, the Byzantine emperor, Leo III, issued an edict that all religious images in the empire were to be destroyed, a directive that was later endorsed by a synod of the church in 753 under his son, Constantine V. If the policy of Iconoclasm had succeeded, the entire history of Christian art—and of the Christian church, at least in the East—would have been altered.Iconoclasm was defeated by Byzantine politics, popular revolts, monastic piety, and, most fundamentally of all, by theology, just as it had been theology that the opponents of images had used to justify their actions. Analyzing an intriguing chapter in the history of ideas, the renowned scholar Jaroslav Pelikan shows how a faith that began by attacking the worship of images ended first in permitting and then in commanding it.Pelikan charts the theological defense of icons during the iconoclastic controversies of the eighth and ninth centuries, whose high point came in 787, when the Second Council of Nicaea restored the cult of images in the church. He demonstrates how the dogmas of the Trinity and the Incarnation eventually provided the basic rationale for images: because the invisible God had become human and therefore personally visible in Jesus Christ, it became permissible to make images of that Image. And because not only the human nature of Christ, but that of his Mother had been transformed by the Incarnation, she, too, could be “iconized,” together with all the other saints and angels.The iconographic “text” of the book is provided by one of the very few surviving icons from the period before Iconoclasm, the Egyptian tapestry Icon of the Virgin now in the Cleveland Museum of Art. Other icons serve to illustrate the theological argument, just as the theological argument serves to explain the icons.In an incisive foreword, Judith Herrin explains the enduring importance of the book and discusses how later scholars have built on Pelikan's work.Please note: All images in this ebook are presented in black and white and have been reduced in size.