Te Laudamus is designed as a sort of hymnal supplement, seeking to provide the best of historic Lutheran hymnody, especially those which do not appear in recently published hymnals. Its psalms, hymns, and liturgies could be used in congregational settings or in the Christian home. More information, including how to purchase Te Laudamus, is available at telaudamus.org. -Ed.
If poetry, music, and art are simply added ‘extras’ to our existence, nonessential diversions in the midst of ‘real life,’ then Christians should ask: why is so much of the Old Testament in verse; for what reason did the Divine Author retain the now-forgotten musical settings of the inspired Psalms; and why did God give so many directives to those artisans Bezalel and Oholiab to work with all manner of materials in fashioning the ark, the tabernacle, and the holy vessels?
Truly, man himself is crafted to imitate, to frame, and to enjoy his Creator’s splendid works. The Lord speaks beautifully, and we learn to speak poetically in return. He writes the littlest song of the bluebird and the cosmic music of the revolving galaxies, and so we make music in return. Our Father crafts the mountain ranges and the molecule, and so we draw, paint, and sculpt in return. Chesterton wrote in The Everlasting Man, “Art is the signature of man.” This is because man is made in God’s image, in the image of the Creator. We make art because God made us.
If Te Laudamus is anything in addition to being a valuable resource for God’s worshiping people, it is also a work of art. It marshals poetry, music, and art together in the old way; that is, in the natural, creaturely way Christians used to lovingly craft liturgical and theological works in the Medieval and Renaissance Church.
I notice immediately that the editors have done a wonderful task in reclamation and retrieval. All 150 Psalms are included. The Psalter is, after all, the hymnbook of the Bible. Additionally, the editors have returned to the beautiful, though more difficult, Gregorian tones of the Medieval Church. The translation is that of the King James Version which, after 400 years, has stood the test of time for English-speakers. Our society has become more barbarous and less poetical; why shouldn’t our liturgical works, then, seek to elevate our speech and sense of beauty?
As far as the hymns go, the sections and subdivisions are presented with a clear logic and organization. Sections are based on the Church Year, with hymns chosen for both theological depth and musical richness. Individual Sundays, such as Judica, are given suggested hymns within the larger liturgical season. What one immediately notices in this hymnal is that the editors do not shy away from including a number of long, multi-page hymns. If they are excellent hymns, why shouldn’t they be included in their entirety?
During the nineteenth and twentieth centuries, book publication often became a mere utilitarian, practical affair. Publishers dispensed with extra pictures, color printing, and classic features because they were deemed unnecessary or distracting. Through the years, hymnals unfortunately became blander and cheaper. Not so with Te Laudamus.
The paintings are presented in full-color, and the woodcuts and engravings are reproduced with clarity and accuracy. Some, such as the Triumphal Entry by Giotto, are masterpieces by Western Christian painters. Others, especially the German engravings and woodcuts, are by the Reformers’ allies and friends. They are of historical interest and exhibit evangelical truths. Many of the later paintings, mostly from the eighteenth and nineteenth centuries, depict episodes from the Reformation or scenes from the New Testament with especial clarity and color. There are also catechetical illustrations by a contemporary designer, tastefully done, clear, and reminiscent of sixteenth-century precursors.
Te Laudamus is therefore unique for its use of images. They serve a catechetical purpose in recalling, presenting, and symbolizing Christian doctrines; they serve a devotional and contemplative purpose. But I think they also serve an even deeper purpose: renewing the Christian imagination. In an era glutted with an over-abundance of fake and shallow images, the artworks of Te Laudamus will slowly reclaim the worshiper’s mind by their beauty and truth. A child who might otherwise never even hear the names Doré or Dürer will now look upon their works in an attractive hymnal amid the music and majesty of the Divine Service. Hopefully this project will inspire other similar projects, such as lavishly illustrated catechisms and prayer books. We as Lutherans need not succumb to the barbarism of modern art; we have the resources to initiate our people into the sublime and holy art, poetry, and music of the Church’s storehouse. Te Laudamus is an important tool for such an initiation.
