This chapter argues for a fairly radical rethinking of Aquinas’s account of perfect happiness. In particular, it argues that, according to Aquinas, perfect happiness just is the fruitio of God, understood as a complex activity involving both the vision of God and maximal enjoyment of God. This fits very well with the Enjoying Good Activities Reading laid out in Chapter 2, since perfect happiness so understood clearly involves engaging in and enjoying a genuinely good activity. From there, the chapter explains what makes that perfect happiness so special, in part by comparing that happiness to God’s own happiness. After explaining the relationship between the fruitio of God and other heavenly goods, the chapter closes by showing how Aquinas makes sense of the idea that perfect happiness comes in degrees and how it is that resurrected bodies and other people are supposed to make us happier in heaven.

Over the time of his ministry, Augustine came more strongly to see that only in heaven will we find the fullness of peace. This chapter reviews Augustine’s preaching on heaven and its peace first in its ecclesial and liturgical settings. It then takes into consideration objections faced by his people to Christian faith in the resurrection of the dead. Then it reviews the face-to-face vision of God and the communal dimensions of the heavenly Jerusalem where angels and saints experience peace together. The chapter focuses on Augustine’s preaching on the words “amen” and “alleluia” that express our whole activity in heaven’s peace.

Chapter 7 examines representations of the afterlife: the heavens and purgatory. Venetian artists created some of the most spectacular visions of paradise of the century, works that pulse with vibrancy and life, deploying a series of artistic devices to insist on the veracity of the supernatural. Venice was also home to one of the earliest and most comprehensive purgatorial cycles in Italy, a theme that became an ever more popular one as the seventeenth century progressed.

This article explores the notion of worship as a natural and universal disposition, described by Thomas Aquinas in ST II-II, q.81. Worship, however, is for Aquinas most relevant in the context of divine friendship or caritas with God, which Aquinas describes in ST II-II, q.23. This article, therefore, explains a possible connection between worship and love. How can the task to worship God grounded in the debt to God qua creator and the appreciation of the excellence of God be reconciled with the proximity and closeness with God that caritas implies? Drawing from Jewish philosophy, especially Martin Buber’s I-Thou relationships, and new findings in experimental psychology, in particular joint attention, a second-personal model of worship can be developed. This form of worship encompasses, on the one hand, the intimacy and sense of presence of God that worship can involve, and on the other hand, the distinctiveness and pre-eminence of God, essential for a worshipful attitude. The aim of this article is to explore how second-personal relatedness with God is possible in worship directed to God. Since God seems to be present in worship in a twofold manner, the interest is in the role the Holy Spirit can play in worship.

Chapter 1 opens with a description of the different peoples of the Americas in 1492 and the earliest contacts with Europeans, and outlines the process of Spanish penetration and settlement. It then explores indigenous reactions to Europeans at first contact, and analyzes the roots of the apotheosis of Europeans in Spanish America, arguing that it is misleading to distinguish too sharply between religious and rational considerations, and indicating that native peoples did not bow before the strangers as gods. The chapter then shifts the focus to the intellectual framework employed by Europeans to situate native peoples within a European worldview (European Mythology of the Indies I). Europeans interpreted indigenous peoples according to their own mythological concepts, such as the myth of the Earthly Paradise, the myth of the Reconquest of Jerusalem, the myth of the Marvelous East, and the myths of the Classical Tradition. The chapter ends with a summary of Spanish expansion into the Pacific.

Chapter 1 traces the antebellum faith in the non-finality of death and its antithesis in the irreparable change wrought by amputation. In sentimental theology, the dead are never wholly gone – they live on to inspire and save, awaiting reunion with those they leave behind. The dead child embodies the reality of unpredictability and at the same time operates within a narrative that soothes. The author contrasts antebellum postmortem photography and images of amputees and amputated limbs. Postmortem photography of children reinforces the sense that the family has not really been ruptured, that death isn’t really the end. Photographs of amputee Civil War soldiers do quite the opposite. Rather than operating as postmortem photography does, as a mediator between the living child, its dead body, and the family left behind, the portrait of the amputee is insistently in the present, even as the lost limb is consigned to an unrecuperable past. While nineteenth-century pictures of dead children often encouraged the fiction that the photograph’s subject was an ongoing member of the family, amputation photography – both medical and vernacular – insists on the permanence of bodily change.

Chapter 12 explores Augustine’s Christocentric speculations on the beatific resurrection of the saints to eternal life. Particularly in Book 22 of De ciuitate dei, Augustine displays both moderation in his tentative articulations and generosity in his allowance of a wide range of eschatological prospects within the parameters set by Scripture and the resurrected Christ. Considering the spiritual body and the ecclesial body of the beatific resurrection, Augustine discusses the perfection of human freedom, the vigor and beauty of the saints’ resurrected flesh, the vindication of history in their resurrected bodies and memories, and the unity and diversity of the resurrected Church. Augustine develops his understanding of the beatific vision to articulate the prospect that it will come not only after, but also from within the beatific resurrection. Enjoying forever the insatiable satisfaction of God, the resurrected community of the saints will indefatigably celebrate and praise the God of the resurrection.

Part I covers the death arts that focus on the period leading up to and concluding with the advent of death. Both philosophical and biblical traditions enjoined the early modern individual to prepare physically, mentally, and spiritually for the day that he or she would die. In addition to ensuring that one’s worldly goods were in order and left to the most suitable survivors, preparation entailed attending to the health of one’s soul: one would repent of sin, cultivate a legacy of virtue, and contemplate the four last things – Death, Judgement Day, Heaven, and Hell. The primary means of instructing the religiously minded in how to die well were ars moriendi treatises, several of which are represented here. Modernized and annotated excerpts also represent many other genres, high and low, that directed readers to look deathward. Devotional and theological works, conduct manuals, emblem books, calendars, ballads, and last dying speeches illustrate not only exemplars of good and bad dying but also the various arts whereby readers could prepare themselves for the afterlife. Throughout the excerpts, the confessional and political implications of the death arts are highlighted.

This chapter covers a large literary category which I call ‘hagiographical’: it includes miracle stories that involve the Virgin Mary, full-length Lives of the Virgin (which began to be produced from the late eighth or early ninth century onward) and two Apocalypses. Many of the texts studied here are composed in a colloquial style that may have appealed to wider audiences in non-liturgical settings. This genre thus contrasts with the liturgical texts that are studied in the first four chapters: according to hagiography, Mary assumes power and agency that goes beyond her theological role in giving birth to Christ. Christians appeal to this female holy figure as one who is able to appeal to Christ and who is willing to help sinners or supplicants who despair of God’s direct favour. Christological teaching persists in these texts, but the emphasis has shifted to Mary’s intercessory role among Christians.

Chapter 5 is about the properties of virtue. These properties follow upon a virtue by the simple fact that it is a virtue. There are four such properties that seem rather loosely connected: the mean of virtue, the connection between the virtues, the order of the virtues, and the duration of virtue after this life. Despite this somewhat loose ordering, each of these properties must be studied if we are to understand Thomas’s account of virtue as a whole.

This chapter covers a large literary category which I call ‘hagiographical’: it includes miracle stories that involve the Virgin Mary, full-length Lives of the Virgin (which began to be produced from the late eighth or early ninth century onward) and two Apocalypses. Many of the texts studied here are composed in a colloquial style that may have appealed to wider audiences in non-liturgical settings. This genre thus contrasts with the liturgical texts that are studied in the first four chapters: according to hagiography, Mary assumes power and agency that goes beyond her theological role in giving birth to Christ. Christians appeal to this female holy figure as one who is able to appeal to Christ and who is willing to help sinners or supplicants who despair of God’s direct favour. Christological teaching persists in these texts, but the emphasis has shifted to Mary’s intercessory role among Christians.

The Vision of Tnugdal (1149) was written in Latin in Regensburg. It provides a case study for the genre of otherworld visions. The author, an Irish monk, shows the influence of Bernard of Clairvaux, in his treatment of divine mercy and justice as expounded by a guide who accompanies the visionary and explains the nature of the otherworld. Hell is segmented into eight locations for different punishments. The less grievous sinners, still redeemable, are at the top, with those eternally damned already in the pit of hell. Outside a segmented heaven two intermediate locations are designated for those neither particularly good nor particularly bad. This lengthy and popular work demonstrates considerable learning and a unique creativity with its vivid descriptions of punishments and demons and its spatial, intellectual, and spiritual vision of heaven. The vision expounds a theology of fear while extoling the redemptive power of both internal and external pilgrimage.

Visions of the afterlife in late medieval Europe (1300-1500) circulated in collections of saints’ legends and sermons, in religious manuals, mystics’ writings, stand-alone pieces, and literary works. Along with the stories inherited from earlier centuries, there were many new accounts. Together they demonstrate how the medieval Church’s teachings on heaven, hell, and purgatory, as well as on prayers and masses for the dead, on engaging in the sacrament of penance, on accruing merit, on fighting against the demonic realm, and on devotion to the saints, were conveyed to, assimilated, and adapted by the laity. This chapter draws on several categories of these otherworld narratives, including visitations by ghosts, demons, and saints, and explores three primary spiritual dynamics illustrated by the visions:purgatorial ‘transactions of satisfaction’ with the ghosts, spiritual warfare with the demons, and ‘reciprocated devotion’ with the saints. The glimpses of the otherworlds and their inhabitants shored up the religious beliefs and practices of the late medieval laity.

This chapter characterises visionary experiences of heaven, hell, and purgatory received by medieval religious women.The twelfth-century Benedictines Hildegard of Bingen and Elisabeth of Schönau offer detailed representations of a celestial city but fewer specifics regarding the netherworld.Hildegard’s perception of the cosmos informs her view of heaven, whereas for Elisabeth it symbolises a longed-for end to life’s journey.Among the Cistercian women residing at Helfta in the thirteenth century, the graphic descriptions of otherworldly realms described by Mechthild of Magdeburg in The Flowing Light of the Godhead are most remarkable.For her contemporaries, Mechthild of Hackeborn and Gertrude the Great, the joyous union with Christ on earth is emphasised equally with the union in heaven.The striking scenes depicting the judgement of sinners in purgatory found in the revelations of the fourteenth-century saint Birgitta of Sweden serve as an admonition to her more secular audience.