ABSTRACT
This chapter discusses 'Time and Space in the Liturgy', 'Art and Liturgy', and 'Liturgical Form', Guardini's inheritance becomes palpable again, sometimes on the surface of the text, sometimes in its depths. It contains three sections. First, 'Time and Space in the Liturgy'. The chapters governed by the rubric 'Time and Space in the Liturgy' take up at the deep level the polarity between the universal structures in which God is transcendentally present to all times, all places. Secondly, 'Art and the Liturgy'. The chapters on 'Art and the Liturgy', by the fashion in which they treat iconography and sacred music, are clearly reminiscent of Romano Guardini in their refusal to banish the artists from the Church yet insistence that the arts must be re-configured in a fashion suited to Church life. Thirdly, 'Liturgical Form'. In the closing section, on 'Liturgical Form', Benedict, while more the historian than Guardini in his account of the development of ritual forms.
