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³ Duby, G., The Age of the Cathedrals. Art and Society 980–142, translated by Levieux, E. and Thompson, B., (Chicago, University of Chicago Press, 1981)Google Scholar, Chapter 4 “The Threshold.”

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⁵ Hearn, M.F., Romanesque Sculpture. The Revival of Monumental Stone Sculpture in the Eleventh and Twelfth Centuries, (Oxford, Phaidon, 1981), p. 174Google Scholar, summarizing the earlier studies of L. Grodecki and Y. Christe.

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¹¹ M. Schapiro, “The Sculptures of Souillac”, op. cit., pp. 102–130. The pose of the central figure in the Fauve artist Andre Derain's Dance is based on that of the prophet Isaiah at Souillac. Images of Souillac may be viewed at http://www.bc.edu/bc_org/avp/cas/fnart/arch/souillac.html

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¹⁴ Hearn, op. cit., p. 191.

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¹⁷ Miller, J., Measures of Wisdom. The Cosmic Dance in Classical and Christian Antiquity, (Toronto, University of Toronto Press, 1986)CrossRefGoogle Scholar, Chapter 9. On the cosmic dance as a motif in the Romanesque sculpture of the monastery of Silos in north central Spain see, J. Blaettler, ‘“Mourning Into Dancing”: Spiritual Conversion At Silos’, http://www.worship.calvin.edu/luce/2002/blaettler.htm He notes that Isidore of Seville was commissioned to provide a dance for the church of Toledo in the seventh century. Isidore asserts in his Etymologies, at 3.17.1 (Migne PL LXXXII), that without music there can be no perfect knowledge, for there is nothing without it. For even the universe itself is said to be formed under the guidance of harmony.

¹⁸ Translated by Miller, op. cit., p. 511. In his treatment of critical elaborations of “the choreia topos” of Timaeus 40a-d he compares this passage with the Philonic Hymn of Moses which brought the Jews into harmony with the chorus of the stars and the angels, the Apocryphal Hymn of Jesus which set the souls of the first Christian chorus in rhythm with Grace, the Porphyrian Hymn of Apollo which drew the soul of Plotinus into the chorus of Immortal Love, and the Procline Hymn to Helios which channeled the flood of harmony streaming from the intellectual realm into sense-bound human language.

¹⁹ For Heidegger metaphysics constructs for itself an apprehension of the transcendence of God, but under the figure simply of efficiency, of the cause, and of the foundation. “Ontotheology” posits the dependence of all things on God as an impersonal, self-causing principle. “Man can neither pray nor sacrifice to this God. Before the causa sui, man can neither fall to his knees in awe nor can he play music and dance before this god.” Heidegger, M., Identity and Difference, translated by Stambaugh, J., (New York, Harper and Row, 1969), p. 72Google Scholar. Cf. Marion, J-L., God without Being, translated by Carlson, T., (Chicago, University of Chicago Press, 1991) p. 35Google Scholar Marion observes that David, on the contrary, dances, naked, before the Ark. And, psalmist par excellence, sings; p. 206, n.17.

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²⁹ “Government and co-operation are in all things and eternally the laws of life. Anarchy and competition eternally and in all things, the laws of death.” Kenneth Clark notes how this phrase first appears in the last volume of Modern Painters and then reappears in Unto This Last, Essay III. 54. Clark, K., Ruskin Today, (London, Penguin, 1991), p. 264Google Scholar. See also Wheeler, M., Ruskin's God, (Cambridge, Cambridge University Press, 1999)Google Scholar.

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³² Thévenot, X., Avance en eau profonde! Carnet spirituel, (Paris, Cerf, 1997), p. 45Google Scholar, cited in Nault, J-C, “Acedia: Enemy of Spiritual Joy”, Communio XXXI, 2, (Summer 2004), p. 248Google Scholar.

³³ Hollander, J., The Untuning of the Sky: Ideas of Music in English Poetry 1500–1700, (Princeton, Princeton University Press, 1961)Google Scholar. Spitzer, op. cit., p. 138, equates secularization with “demusicalization”.

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³⁸ Pickstock, C., “Soul, city and cosmos after Augustine”, Radical Orthodoxy, Edited by J. Milbank, Pickstock, C. and Ward, G., (London, Routledge, 1999), pp 243–247Google Scholar. For Begbie, op. cit., p. 85, n. 61, her confidence in Augustine and in medieval polyphony seems excessive and the text more ambivalent and ambiguous about the mutable multiplicity of the temporal world. Spitzer contrasts Augustine with Ambrose as two ways open to Christianity: the one inherited from Plato, turning away from the saeculum, aspiring towards monotheistic monody; the other transforming pantheistic fullness into Catholic polyphony. His work suggests that Pickstock's argument might be strengthened by reference to Ambrose as well as to Augustine. Spitzer, op. cit.pp. 28–33. See also, James, J., The Music of the Spheres. Music, Science, and the Natural Order of the Universe, (London, Little, Brown and Company, 1993)Google Scholar.

³⁹ Milbank, J., “‘Postmodern Critical Augustinianism’: A Short Summa in Forty Two responses to Unasked Questions”, Modern Theology, 7, No. 3 (April 1991), p. 228CrossRefGoogle Scholar; Theology and Social Theory. Beyond Secular Reason, (Oxford, Blackwell, 1990), pp. 422–434Google Scholar, “Counter-Ontology”. In his response to Milbank Williams protests that our salvation cannot simply be a pure return to a primordial harmonics, to a peace of the Church that is not historically aware of how it is constructed in events that involve conflict and exclusion. Milbank offers little account of how the peace he speaks of is “learned, negotiated, ‘achieved’, inched forward, discerned and risked” rather than already achieved. However Williams’ questions are not designed to challenge the project but ask for clarification of how much place is given for the patience that contingency enjoins. Williams, R., “Saving Time: Thoughts on Practice, Patience and Vision”, New Blackfriars 73. 861, (June 1992), pp. 319–326CrossRefGoogle Scholar. See also W. Hankey, “Re-Christianizing Augustine Post-Modern Style”, http://www.animus.mun.ca//animus/1997vol2/hankey1.htm

⁴⁰ De musica VI xvii 56; Every created thing which strives for ultimate unity atque ordinem proprium vel locis vel temporibus, vel in corpore quodam liberamento salutem suam teneat.

⁴¹ De musica VI xiv 46, (Migne PL XXXII).

⁴² L. Spitzer, op. cit., pp. 19–20; De ciuitate Dei XV. 22 (Migne PL XLI). Augustine defines virtue as rightly ordered love in accordance with the song of the City of God in the Song of Songs, ordinate in me caritatem.

⁴³ Hart, D., The Beauty of the Infinite. The Aesthetics of Christian Truth, (Grand Rapids, Eerdmans, 2003), p276Google Scholar.

⁴⁴ L. Spitzer, op. cit., p. 4.

⁴⁵ Plato, , Laws, translated by Jowett, B., (Amhurst, Prometheus Books, 2000), 653d-654aGoogle Scholar. See also 672e.

⁴⁶ C. Pickstock, radio interview, “J.S. Bach and Joy”, http://www.abc.net.au/rn/relig/enc/stories/s226359.htm; After Writing. On the Liturgical Consummation of Philosophy, (Oxford, Blackwell, 1998). Her account of medieval society depends upon J. Bossy, Christianity in the West 1400–1700, (Oxford, Opus, 1985).

⁴⁷ Pickstock, C., “A Sermon for St. Cecilia”, Theology, Vol. C No. 798 (November/December 1997), pp. 411–418CrossRefGoogle Scholar.

⁴⁸ Isaiah 40.26 in the translation of Philip Schaff.

⁴⁹ Augustine Epistolae 166.5.13 (Migne PL XXXIII), Unde musica, id est scientia sensuave bene modulandi, ad admonitem magnae rei, etiam mortalibus rationales habentibus animas Dei largitate concessa est. This text is cited in H. Marrou's treatment of musical time in Théologie de l’histoire, (Paris, Editions de Seuil, 1968)Google Scholar, Chapter 19.

⁵⁰ Letter of Mahler, cited Spitzer, op. cit., p. 108. His favorite symphony was his second, “Resurrection.”

⁵¹ These images of the medieval patron saint of music inspired James MacMillan's 2003 piece for violin and ensemble or chamber orchestra A Deep but Dazzling Darkness.

⁵² Pickstock, op. cit. 1999, p. 265.