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Summary: This is Luther's reinstatement of the Litany of "All Saints", containing both the musical notation and German text of the antiphons.

Summary: This is Luther's reinstatement of the Litany of "All Saints", containing both the musical notation and German text of the antiphons.

Summary: This is a response, written by Zwingli and adopted by the Council of Zurich, to a warning letter from Hugo von Hohenlandenberg (1457-1532), Bishop of Constance, about the destruction of images (Simulacra) and the reform of the Holy Mass. The bishop argued that the Bible forbade only heathen images; Christian imagery was entirely licit and its use sanctioned by the Council of Nicaea. The book was circulated at the Diet of Lucerne in April 1524 but did not reach Zurich until early June.

Summary: This is a response, written by Zwingli and adopted by the Council of Zurich, to a warning letter from Hugo von Hohenlandenberg (1457-1532), Bishop of Constance, about the destruction of images (Simulacra) and the reform of the Holy Mass. The bishop argued that the Bible forbade only heathen images; Christian imagery was entirely licit and its use sanctioned by the Council of Nicaea. The book was circulated at the Diet of Lucerne in April 1524 but did not reach Zurich until early June.

Summary: Response by King Henry VIII of England to Luther's attack on his book, "Assertio septem sacramentorum", on the seven sacraments of the Catholic Church. This printing was issued in Leipzig by Hieronymous Emser, early opponent of Luther, with a reply by his ruler, Duke George of Saxony, and dedicated by Emser to Johann von Schleinitz, bishop of Meissen.

Summary: Response by King Henry VIII of England to Luther's attack on his book, "Assertio septem sacramentorum", on the seven sacraments of the Catholic Church. This printing was issued in Leipzig by Hieronymous Emser, early opponent of Luther, with a reply by his ruler, Duke George of Saxony, and dedicated by Emser to Johann von Schleinitz, bishop of Meissen.

Summary: This is the third of Luther's three great reformation tracts of 1520. Addressed to Pope Leo X, this work is a discourse on the freedom of the will, turning on the paradox: A Christian is free, lord over all things, subject to no one. A Christian is a bounden servant of all, and subject to everyone. This is the fourth printing of Luther's own German translation.

Summary: This is the third of Luther's three great reformation tracts of 1520. Addressed to Pope Leo X, this work is a discourse on the freedom of the will, turning on the paradox: A Christian is free, lord over all things, subject to no one. A Christian is a bounden servant of all, and subject to everyone. This is the fourth printing of Luther's own German translation.

Summary: An early sermon by Luther on Indulgences and Grace. First appearing in 1518, this work went through fully fourteen printings in that year alone.

Summary: An early sermon by Luther on Indulgences and Grace. First appearing in 1518, this work went through fully fourteen printings in that year alone.

A guide for incoming and returning students to the services and resources at Pitts Theology Library. This is the inaugural release of the zine, featuring original artwork by Ann McShane and advice gathered from students and library users during the Spring 2023 semester.

A guide for incoming and returning students to the services and resources at Pitts Theology Library. This is the inaugural release of the zine, featuring original artwork by Ann McShane and advice gathered from students and library users during the Spring 2023 semester.

A nineteenth-century lithograph depicting John Wesley preaching at the City Road Chapel in London, addressing the 446 preachers in his connection. The lithograph was produced in the studio of William S. Pendleton (1795-1879) in Boston. Many of the individuals featured in the print are clearly identifiable by their printed engravings from the late eighteenth and early nineteenth centuries. One can quickly identify the familiar faces of Charles Wesley (1707-1788), John William Fletcher (1729-1785), Joseph Benson (1749-1821), and others.

A nineteenth-century lithograph depicting John Wesley preaching at the City Road Chapel in London, addressing the 446 preachers in his connection. The lithograph was produced in the studio of William S. Pendleton (1795-1879) in Boston. Many of the individuals featured in the print are clearly identifiable by their printed engravings from the late eighteenth and early nineteenth centuries. One can quickly identify the familiar faces of Charles Wesley (1707-1788), John William Fletcher (1729-1785), Joseph Benson (1749-1821), and others.

Summary:

Summary:

The ruins of the Corinthian style colonade of the Temple of Jupiter at Baalbek looking south, with the Temple of Bacchus, mistakenly identified as a temple to Helios, the sun god, in the background.

The ruins of the Corinthian style colonade of the Temple of Jupiter at Baalbek looking south, with the Temple of Bacchus, mistakenly identified as a temple to Helios, the sun god, in the background.

The Erechtheion as seen looking west. On the left side is the Porch of the Maidens (or Caryatid Porch).

The Erechtheion as seen looking west. On the left side is the Porch of the Maidens (or Caryatid Porch).

The Partheon as seen looking southeast. The Parthenon sits atop the Athenian Acropolis and was dedicated to Athena Parthenos.

The Partheon as seen looking southeast. The Parthenon sits atop the Athenian Acropolis and was dedicated to Athena Parthenos.

The remains of the Olympeion, or the Temple of Olympian Zeus, looking northwest towards the Acropolis (background), and the Parthenon.

The remains of the Olympeion, or the Temple of Olympian Zeus, looking northwest towards the Acropolis (background), and the Parthenon.

A view across the city of Athens looking northeast towards Mount Lycabettus from the Acropolis.

A view across the city of Athens looking northeast towards Mount Lycabettus from the Acropolis.

A view of the Golden Horn (left) and the Bosporus Strait from the top of the Beyazit (Seraskier) Tower. In the center, the Yeni Cami (New Mosque) is visible just to the right of the Galata Bridge.

A view of the Golden Horn (left) and the Bosporus Strait from the top of the Beyazit (Seraskier) Tower. In the center, the Yeni Cami (New Mosque) is visible just to the right of the Galata Bridge.

The Fountain of Ahmed III as seen facing southeast and looking away from the gates of the Topkapı Palace in Constantinople (Istanbul).

The Fountain of Ahmed III as seen facing southeast and looking away from the gates of the Topkapı Palace in Constantinople (Istanbul).

The Galata Tower seen looking northeast past a burial ground. A portion of the old city wall is visible leading toward the tower on the right.

The Galata Tower seen looking northeast past a burial ground. A portion of the old city wall is visible leading toward the tower on the right.

A view accross the island of Patmos with the Monastery of St. John the Theologian visible in the upper right.

A view accross the island of Patmos with the Monastery of St. John the Theologian visible in the upper right.

Snow-capped Mount Lebanon (background) as seen from across the village of Ehden looking east.

Snow-capped Mount Lebanon (background) as seen from across the village of Ehden looking east.

The northern interior wall of the Temple of Bacchus, misidentified as the Temple of Jupiter, which shows a colonade of Corinthian style columns incorporated into the wall.

The northern interior wall of the Temple of Bacchus, misidentified as the Temple of Jupiter, which shows a colonade of Corinthian style columns incorporated into the wall.

The ruins of the Roman temple complex at Baalbek looking north. The exterior wall of the Temple of Bacchus is visible on the right, while the six Corinthian style columns of the Temple of Jupiter are visible on the left.

The ruins of the Roman temple complex at Baalbek looking north. The exterior wall of the Temple of Bacchus is visible on the right, while the six Corinthian style columns of the Temple of Jupiter are visible on the left.

A view down the Street called Straight towards the Bab Sharqi gate. The buildings on each side of the streets are in ruins, the results of the devastating massacre and riots that took place in 1860 as tensions between the Druze and Christian populations in Damascus peaked.

A view down the Street called Straight towards the Bab Sharqi gate. The buildings on each side of the streets are in ruins, the results of the devastating massacre and riots that took place in 1860 as tensions between the Druze and Christian populations in Damascus peaked.