By Heidi J. Hornik, Mikeal C. Parsons
Charting the theological and cultural efficiency of Acts around the timespan of Christian background, this paintings of profound scholarship unearths the total volume of the hot testomony book’s non secular, inventive, literary, and political influence.
- Reveals the effect of Acts at key turning issues within the heritage of the Christian church
- Traces the wealthy and sundry inventive and cultural historical past rooted in Acts, from song to literature
- Analyzes the political importance of the booklet as a touchstone within the church’s exterior relations
- Provides specified remark at the exegesis of Acts down the centuries
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Additional resources for Acts of the Apostles Through the Centuries
Robbins 1991, 305–332). Another issue that emerged in full force in the modern period revolved around the historical (un)reliability of Acts. C. Baur famously saw Acts as part of a larger Tendenz to reconcile Gentile and Jewish forms of Christianity, represented by Paul and Peter, respectively, and thus questioned the historical reliability of the account (Baur 1887, 1:135; cited in Baird 1992, 1:267). Sir William Ramsey, on the other hand, moved from a skeptic regarding Luke’s historical reliability to the position that Luke was a careful and reliable historian.
609). Following Christ’s commission to the disciples, he departs from them. Luke is the only New Testament writer to narrate Jesus’ ascension (Acts 1:9–11, Luke 24:50–53; but the event is alluded to in John 20:17 and found in the longer ending of Mark [16:19]; see also Eph 4:7–10). The Ascension was viewed as a visible manifestation of Christ’s exaltation to the right hand of the Father. , Mark 16:19; Rom 8:24; Heb 1:3, 8:1, 10:12; Eph 1:20; Col 3:1). The significance of Jesus’ ascension for the creeds and confessions of the Church has been captured in the “Syndogmaticon” (“an index of the doctrines of the Christian tradition as they appear in the various creeds and confessions of faith”) by Pelikan and Hotchkiss, who catalogue nearly thirty representative creeds and confessions that echo the claim of the Niceno‐Constantinopolitan Creed that Christ “went up into the heavens” (CCF, 1:915).
Full‐page illustrations include the rarely depicted election of Matthias (fol. 1r, depicting Acts 1:15–26) and Virgin and Child (fol. 1v). The last two pages depict the crucifixion and empty tomb (fol. 13r), the ascension (fol. 13v), Christ enthroned (fol. 14r), and Pentecost (fol. 14v). ) and also contains Acts. The figure of Christ is positioned in a mandorla (almond‐shaped frame) with his right hand in a blessing gesture and his left holding a scroll. The background of the mandorla is an aquamarine blue.