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Mariology by M.J. Scheeben

Mariology is a two-volume text in English, first published in 1946, of the work by German priest Matthias Joseph Scheeben (b. 1835 – d. 1888). Scheeben is the author of the renowned 7-part Handbuch der katholischen Dogmatik, commonly referred to as “Dogmatik”.


Mariology was translated into English by Rev. T.L.M.J. Geukers from the Flemish translation by Rev. H.B. van Waes, SJ, with annotations by Rev. E. Druwe, SJ.


Volume I contains Parts I to III in 11 chapters with four Appendices. Volume II contains Parts IV to V in 12 chapters.

  • Part I: The Concept and Sources of Mariology

  • Part II: Christological Foundations of Mariology

  • Part III: The Basic Principle of Mariology

  • Part IV: Mary, Full of Grace

  • Part V: Mary the Mediatrix


Volume 1 title page.
Volume 1 title page.

Part I is essentially the introduction, briefly discussing the sources, starting with Scripture and Tradition. It finishes with a brief review of the literature through the centuries before proceeding to discuss the actual Mariology in the next four parts.


Scheeben was well-versed in sources of Mariology and he discusses the sources written by the Early Church Fathers and subsequent theologians throughout. Of course, not every text attributed to them is genuine. Depending on the context, a text that is claimed to be earlier than the fifth century, for example, may have a later origin and Scheeben does discuss these issues.


Each volume is about 280 pages long, so it is not a quick read. Scheeben tries to be accessible but he is also very thorough, covering each point from different angles. Like just about any subject in Christian theology, whilst there is that simple layer, there are also complexities and it can be very technical.


Unlike The Glories of Mary (1750) by St Alphonsus Maria de Liguori, which is a compendium that is also somewhat like a devotional text and therefore written for the masses, Scheeben’s Mariology does not shy away from the more technical aspects. In this respect, some parts can be difficult to follow.


For example, in Part II, the author covers Mary’s virginal conception and motherhood as well as her perpetual virginity. Whilst these are not difficult to explain or to understand when treated in isolation, how Mary is the Mother and Bride without any contradiction is more difficult to explain.


Either way, Scheeben knows how to use analogies and he is good at writing clear(er) conclusions to each chapter. So, if a reader has trouble understanding the discussion for a given chapter, at least its conclusion helps wrap things up. Generally, Part II is the most difficult part to read, with Parts III to V being much easier.


In short, even though theologians throughout the centuries have differing views regarding Mary and she was even in “relative obscurity” before the fifth century, she was generally seen as special from the earliest days as the New Testament indicates. And also, what is vague in the Old Testament typically gets clearer in light of the New Testament.


For example, regarding Mary’s Immaculate Conception, there were differing terminologies and views about when exactly God cleansed her of the stain of original sin and the degree of her immunity from the effects of the fall. Whilst there were arguments about minutiae and implications (and there are always arguments against everything anyway), the concept was generally believed early on.


Overall, it is a thorough treatment of the subject. One minor complaint is that the author often uses Latin terms without providing the translation in brackets or as a footnote. One can without difficulty look up these terms, but it is much easier to have the translation in the text.


My other, more significant complaint is that the author could reproduce more direct quotations from the Early Church Fathers and other prominent theologians. Scheeben obviously knows the subject and the history, and citations and references are not lacking, but more direct quotations would add more substance.


The Immaculate Conception, 1627 (oil on canvas), Guido Reni
The Immaculate Conception, 1627 (oil on canvas), Guido Reni

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