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Studying sixteenth-century Geneva and England, seventeenth-century England and Holland and seventeenth and eighteenth-century Puritan New England, Dyrness argues that, though this tradition impeded development of particular visual forms, it encouraged others, especially in areas of popular culture and the ordering of family and community. Exploring the theology of John Calvin, William Ames, John Cotton and Jonathan Edwards, Dyrness shows how this tradition created a new aesthetic of simplicity, inwardness and order to express underlying theological commitments. 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What is the basis for a relationship between the church and visual imagery? Can the art world and the Protestant church be reconciled? Is art idolatry and vanity, or can it be used to strengthen the church? Grounded in historical and biblical research, William Dyrness offers students and scholars an intriguing, substantive look into the relationship between the church and the world of art.  Faith and art were not always discordant. According to Dyrness, Israel understood imagery and beauty as reflections of God's perfect order; likewise, early Christians used art to teach and inspire. However, the Protestant church abandoned visual arts and imagery during the Reformation in favor of the written word and has only recently begun to reexamine art's role in Christianity and worship. 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Unless we begin at the beginning, we miss the sense of developing themes and their subtle variations. To fully appreciate the music of the Bible, we need to listen to its early movements. William Dyrness helps us by providing a set of program notes to important Old Testament themes: the self-revelation of God, the nature of God, creation and providence, man and woman, sin, covenant, law, worship, piety, ethics, wisdom, the Spirit of God, prophecy and the hope of Israel. 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As a way of expanding interfaith dialogue, it is framed as a conversation between the largely Christian researchers and the seventy-five respondents, who were asked about the images, space, and practices of their religious experience. From the respondents in their various religious settings, it seeks to distill the specific religious imaginations and aesthetic profiles that might be said to characterize their experience--to discover what might be considered the living images of these faiths. Set in the context of contemporary discussions of the nature of religion and visual culture, this richly textured study of visual and sensory practices in religion raises fundamental questions about the place of belief and ritual practice and the role these play in our increasingly pluralistic religious culture. There is a growing body of literature on worship that focuses on concrete images and religious practices, thus 'earthing' a field that often veers toward abstraction. This is a welcome addition to that corpus, which will doubtless deepen our understanding of the richness and complexity of worship in different traditions. --Jeremy Begbie, Duke University Making his readers part of a community that longs to know and love the other, Dyrness models the beauty of which he speaks as we discover our own complexities mirrored in the passing on and reimagining of religious traditions of ordinary people. Senses of Devotion is an outstanding example of inclusive theologizing for anyone who wishes to live out the possibility of a united human family made beautiful precisely through difference. --Cecilia Gonzalez-Andrieu, Loyola Marymount University. This important study describes encounters and conversations that all readers will want to share and even replicate. Dyrness opens the way, sensitively and wisely avoiding common suppositions, undermining stereotypes, and keeping focused on actual practice as he pursues an eye-opening subject: the nonverbal dimensions of religious practice in other faith traditions. Among the rich rewards this book gives is a better perspective on ourselves. --Robin M. Jensen, Vanderbilt University William A. Dyrness is Professor of Theology and Culture and Director of the Visual Faith Institute of Art and Architecture at Fuller Theological Seminary, Pasadena, California, and was a founding member of the Brehm Center for Worship, Theology and the Arts at Fuller. 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But until now there has been no \u003cem\u003eGlobal Dictionary of Theology, \u003c\/em\u003e a theological dictionary that presumes the contribution of the Western tradition but moves beyond it to embrace and explore a full range of global expressions of theology. The \u003cem\u003eGlobal Dictionary of Theology\u003c\/em\u003e is inspired by the shift of the center of Christianity from the West to the Global South. But it also reflects the increase in two-way traffic between these two sectors as well as the global awareness that has permeated popular culture to an unprecedented degree. The editorial perspective of the \u003cem\u003eGlobal Dictionary of Theology\u003c\/em\u003e is an ecumenical evangelicalism that is receptive to discovering new facets of truth through listening and conversation on a global scale. Thus a distinctive feature of the \u003cem\u003eGlobal Dictionary of Theology\u003c\/em\u003e is its conversational approach. Contributors have been called on to write in the spirit of engaging in a larger theological conversation in which alternative views are expected and invited. William A. Dyrness, Veli-Matti K rkk inen, Juan F. Martinez and Simon Chan edit approximately 250 articles written by over 100 contributors representing the global spectrum of theological perspectives. Pastors, theological teachers, theological students and lay Christian leaders will all find the \u003cem\u003eGlobal Dictionary of Theology\u003c\/em\u003e to be a resource that unfolds new dimensions and reveals new panoramas of theological perspective and inquiry. 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