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Sursum corda

Sursum corda (Latin for "lift up your hearts") is the traditional opening of the in the of the Catholic and various other Christian liturgies, consisting of a brief exchange between the celebrant and the congregation that calls the faithful to elevate their minds and hearts toward in preparation for the Eucharistic . This ritual, first attested in the early third century, underscores the spiritual ascent from earthly concerns to heavenly participation, fostering communal unity and thanksgiving before the consecration. The structure of the Sursum corda follows a fixed pattern in the , beginning with the 's greeting, "The be with you," to which the people respond, "And with your spirit." The then says, "Lift up your hearts," prompting the reply, "We lift them up to the ." This leads to the 's invitation, "Let us give thanks to the our ," met with the affirmation, "It is right and just." In Latin, the core phrases are Sursum corda, Habemus ad Dominum, Gratias agamus Domino Deo nostro, and Dignum et justum est. These elements, with the extending his hands during the Sursum corda, emphasize a physical and spiritual orientation toward . Historically, the Sursum corda originates in the attributed to around 215 AD, where it appears as part of the Eucharistic following the and preceding the thanksgiving: "The Lord be with you" / "And with your spirit" / "Lift up your hearts" / "We have them with the Lord" / "Let us give thanks to the Lord" / "It is proper and right." It also features in the third-century East Syrian Anaphora of Addai and Mari, using a variant like "Up with your minds." By the fourth century, it was integrated into liturgies across regions, including (as described by in his Mystagogic Catecheses), Antioch (in homilies by and ), and North Africa (referenced by Augustine in Sermon 227). Early evidence draws from biblical imagery, such as Lamentations 3:41 ("Let us lift up our hearts... to God in heaven"), and reflects influences from Jewish berakah prayers and the Greco-Roman posture of raised hands. Theologically, the Sursum corda holds profound significance as a moment of transition, redirecting from worldly distractions to divine encounter, often linked to baptismal and vigilance against , as noted by of in De Dominica Oratione (c. 252 AD): "the ... prepares the minds of the people." It prepares the faithful for the and , symbolizing eschatological hope and sacramental realism, where the becomes a participation in Christ's body and blood. describes it as a "mystical " to interrupt earthly thoughts, while interprets it as looking "upwards to heaven." In contemporary practice, it remains a universal feature in Catholic, , and some Protestant liturgies, embodying the call to worship in spirit and truth.

Etymology and Meaning

Literal Translation

The Latin phrase Sursum corda consists of two components: sursum, an adverb meaning "upwards" or "above," derived from the prefix sub- ("under" or "from below") combined with versum, the neuter form of the past participle of vertere ("to turn"), indicating a turning or direction upward. Corda is the accusative plural form of cor ("heart"), the Latin noun for the physical and metaphorical center of emotion and will, originating from the Proto-Indo-European root ḱḗr(d)- denoting "heart." Together, the phrase functions as an imperative directive, literally translating to "Upwards, hearts!" or more interpretively as an exhortation to elevate the inner self toward the divine. In historical English renderings of liturgical texts, the phrase is commonly translated as "Lift up your hearts," as seen in the 1549 Book of Common Prayer, where the priest says, "Lift up your heartes," and the response is, "We lift them up unto the Lorde." Alternative phrasings in older texts include "Up with your hearts," reflecting a more direct adverbial construction akin to the Latin original, as noted in early commentaries on eucharistic dialogues. For pronunciation, in Classical Latin, the phrase is rendered as /ˈsʊr.sʊm ˈkor.da/, with short vowels and a restored pronunciation emphasizing consonantal clarity. In Ecclesiastical Latin, used in Roman Catholic liturgy, it is pronounced /ˈsur.sum ˈkor.da/, adopting an Italian-influenced style with smoother vowel transitions and softened consonants.

Liturgical Significance

The Sursum corda serves as a profound symbolic invitation within Christian liturgy, calling the faithful to detach from earthly concerns—such as financial worries or personal conflicts—and redirect their attention toward the divine presence. This spiritual elevation is deeply rooted in biblical imagery, particularly Psalm 25:1 ("To you, O Lord, I lift up my soul") and Lamentations 3:41 ("Let us lift up our hearts and our hands to God in heaven"), which underscore a transcendent orientation of the soul away from temporal distractions toward heavenly communion. By invoking this call, the liturgy fosters a momentary transcendence, aligning the worshipper's inner disposition with the sacred mystery unfolding, as early interpreters like Cyril of Jerusalem emphasized in urging the abandonment of "all worldly thoughts" to place the heart in heaven. Functioning as a adapted from ancient , the Sursum corda unifies the assembly in a assent immediately preceding the Eucharistic prayer, preparing the community for the central act of . Drawing from classical practices of dialogic engagement to focus attention, it transforms the liturgical exchange into a moment of shared resolve, where the priest's imperative prompts a unified response that signals readiness for divine encounter, as noted in patristic commentaries like those of , who described it as lifting "hearts on high" to ward off distractions and foster communal order. On a psychological and communal level, the Sursum corda encourages active participation by contrasting mere auditory with a heartfelt , thereby deepening the worshippers' engagement and promoting a sense of mystical . This dialogic structure cultivates single-mindedness in , as the assembly's affirmative reply—"We lift them to the "—affirms a collective ascent, enhancing communal and focus in preparation for the , according to liturgical scholars who highlight its role in redirecting devotion toward the risen Christ. Through this, the phrase not only elevates individual piety but also binds the congregation in a shared act of , countering passivity with intentional devotion.

Liturgical Context

Role in the Eucharist

In the of the , the Sursum corda serves as the opening dialogue of the within the , marking a deliberate transition from the to the . This moment, occurring immediately after the , invites the assembly to redirect their attention heavenward, preparing them for the central act of thanksgiving and sanctification that constitutes the eucharistia. By initiating the anaphora—the prayer of offering and consecration—the Sursum corda establishes a liturgical bridge, emphasizing the communal shift toward divine worship. The dialogue fosters a profound communal , as the priest's exhortation—"Lift up your hearts"—elicits the people's response, "We lift them up to the ," confirming their collective readiness to participate in the sacred . This exchange, rooted in early Christian practice, unites the faithful in a shared posture of spiritual elevation, often accompanied by raised hands in the gesture, underscoring the assembly's active involvement rather than passive observance. Through this , the congregation expresses their disposition for gratitude, aligning their hearts with the priest's leadership in offering praise to God. Theologically, the Sursum corda acts as a point, bridging human initiative in lifting the heart toward with the reception of unfolding in the anaphora. It symbolizes a ascent, drawing the baptized into participation in Christ's heavenly and evoking baptismal themes of and victory over earthly distractions. As described it, this ancient forms a "path" for , harmonizing interior disposition with liturgical action to transform the into an authentic encounter with the divine.

Position in the Mass or Liturgy

In the , the Sursum corda dialogue occurs at the outset of the Eucharistic , immediately following the over the Offerings and serving as the introductory exchange before the proper. The invites with "Sursum corda" ("Lift up your hearts"), prompting the response "Habemus ad Dominum" ("We lift them up to the Lord"), which transitions into the call to give thanks and the acclamation "Dignum et iustum est" ("It is right and just"), leading directly into the variable text and the subsequent . This placement positions Sursum corda as the foundational in the structure of the anaphora, Eucharistic , appearing uniformly at the beginning of Eucharistic Prayers I through IV in the . It marks the shift from the preparatory elements of the of the to its climactic thanksgiving, emphasizing communal orientation toward God before the narrative of institution and other prayer components. While primarily associated with eucharistic celebrations, adaptations of Sursum corda appear in certain non-Mass liturgical settings within the Roman Catholic tradition, such as solemn blessings and consecrations that model the Preface structure for their gravity. Examples include the consecration of a , the blessing of a font, and prayers, where the underscores the sacredness of the , though these uses remain secondary to its eucharistic centrality.

Text and Dialogue

Traditional Latin Form

The traditional Latin form of the Sursum corda dialogue, as standardized in the , constitutes the opening exchange of the in the Eucharistic . This dialogue begins with the greeting the assembly: Dominus vobiscum ("The be with you"), to which the people respond: Et cum spiritu tuo ("And with your spirit"). The then invites: Sursum corda ("Lift up your hearts"), met with the response: Habemus ad ("We lift them up to the "). Finally, the says: Gratias agamus Domino Deo nostro ("Let us give thanks to the our "), and the people reply: Dignum et iustum est ("It is right and just"). According to the rubrics in the General Instruction of the , the priest extends his hands during the initial greeting and raises them while pronouncing Sursum corda; the responses may be sung or spoken by the assembly, leading into the sung or recited and . This form preserves the classical liturgical structure of the , with the priest elevating his hands to symbolize the spiritual lifting invoked in the . The dialogue traces its origins to the early third-century text of Hippolytus's (c. 215 AD), where the similarly calls: "Up with your hearts," eliciting the response: "We have them with the Lord," followed by an invitation to give thanks, with the assembly affirming its propriety.

Variations and Translations

The Sursum corda dialogue has been adapted into various languages to facilitate congregational participation, particularly following the liturgical reforms that emphasized accessibility in worship. In English-speaking Roman Catholic contexts, the International Commission on English in the (ICEL) produced the initial post-conciliar translation in 1970, rendering the exchange as: Priest: "The be with you"; People: "And also with you"; Priest: "Lift up your hearts"; People: "We lift them up to the "; Priest: "Let us give thanks to the our "; People: "It is right to give him thanks and praise." This version prioritized dynamic equivalence for natural phrasing. The 2011 revision, aligned more closely with the Latin editio typica, updated it to: Priest: "The be with you"; People: "And with your "; Priest: "Lift up your hearts"; People: "We lift them up to the "; Priest: "Let us give thanks to the our "; People: "It is right and just," restoring formal elements like "" from the original Latin et cum spiritu tuo. In the Byzantine Rite of the Eastern Orthodox tradition, the dialogue employs ancient Greek phrasing distinct from the Latin form, with the priest intoning "Ἄνω τὰς καρδίας" (Áno tàs kardías, "Let us lift up our hearts") and the people responding "Πρὸς τὸν Κύριον ἔχομεν" (Pròs tòn Kýrion échomen, literally "To the Lord we have [them]," conveying "We have [our hearts] to the Lord" or "They are with the Lord above"). This formulation, attested in early Byzantine manuscripts like the eighth-century Codex Barberini, emphasizes communal orientation toward the divine. Other vernacular adaptations include the French rendering in the Novus Ordo Missal: Priest: "Le Seigneur soit avec vous" / People: "Et avec votre esprit"; Priest: "Élevons nos cœurs" / People: "Nous les élevons vers le Seigneur"; Priest: "Rendons grâce au Seigneur notre Dieu" / People: "C'est avec raison et c'est notre devoir," which highlights a collective upward movement in accessible . These shifts to local languages post-Vatican II aimed to foster fuller engagement, as the council's constitution authorized approved vernacular translations for readings, prayers, and dialogues to benefit the faithful's understanding and devotion.

Historical Development

Early Church Origins

The earliest attestation of the Sursum corda—Latin for "Lift up your hearts"—appears in the attributed to , composed around 215 AD. In this third-century document, the phrase forms part of the introductory dialogue to the Eucharistic prayer, or anaphora, where the invites the congregation with "Sursum corda," and the people respond "Habemus ad Dominum" ("We have them with the Lord"). This exchange precedes the thanksgiving prayer over the offerings, emphasizing a communal elevation among the baptized faithful, following the and a blessing by the bishop. The dialogue's structure, preserved in early manuscripts like the Verona palimpsest, underscores its role in directing attention heavenward before the consecration. The phrase's liturgical use draws directly from biblical imagery of lifting one's heart or soul toward God, particularly echoing Lamentations 3:41—"Let us lift up our hearts and our hands to God in the heavens"—which conveys repentance and supplication in the face of affliction. Similarly, Psalm 86:4 expresses personal devotion: "Gladden the soul of your servant, for to you, O , I lift up my soul," highlighting a theme of joyful ascent to the divine. These scriptural roots, rooted in the Septuagint's phrasing, informed the early church's understanding of the Sursum corda as a call to interior disposition and outward posture, such as the gesture depicted in catacomb art from the period. Patristic interpreters like Augustine later reinforced this connection by stressing the need for hearts to be fully present with the during worship. By the early fourth century, the Sursum corda had spread widely across early Christian rites, appearing in and Syrian liturgical traditions and indicating its establishment as a standard element by approximately 300 AD. In the Euchologion of Serapion, bishop of Thmuis in (circa 350 AD but reflecting earlier practices), the dialogue is implied in the Eucharistic structure, inviting believers to elevate their minds during the . Likewise, Syrian anaphoras, such as the third-century Anaphora of Addai and , feature a variant form—"Let your minds be on high"—preserved in and , which aligns with the heavenly focus of the version and demonstrates regional adaptation within a shared tradition. This diffusion across diverse locales, from to the East, highlights the phrase's integral role in unifying early Eucharistic worship.

Medieval and Modern Evolution

In the medieval period, the Sursum corda dialogue achieved standardization through the compilation of influential sacramentaries that codified the Roman liturgical tradition. The Gelasian Sacramentary, an 8th-century compilation likely originating from Roman presbyteral circles, incorporates the Sursum corda as the incipit of the Canon Actionis, marking the transition to the eucharistic prayer with its call to lift hearts heavenward. Similarly, the Gregorian Sacramentary, revised in the late 8th and 9th centuries under Carolingian influence and attributed to Pope Gregory the Great, fixed the dialogue's text in a form closely resembling its modern iteration, integrating it seamlessly into the preface structure. Accompanying gestures, such as the priest extending and elevating his hands during the invocation, were formalized during this era, drawing from biblical precedents of prayerful uplift and enhancing the ritual's symbolic elevation toward the divine. The Tridentine reforms following the (1545–1563) preserved the Sursum corda without textual modification, embedding it firmly within the Latin rite as promulgated in the 1570 by Pope St. Pius V. This edition emphasized the priest's central role in the , with the serving as a pivotal priestly amid a structure designed for uniformity and doctrinal clarity across the Western Church. The retention underscored the dialogue's antiquity and its function in orienting toward eucharistic , while rubrics reinforced solemnity through prescribed elevations and bows. Twentieth-century liturgical renewal, spurred by the Second Vatican Council, introduced significant evolutions to promote accessibility and engagement. (1963) advocated for vernacular translations to enable "full, conscious, and active participation" by the faithful, extending this to key dialogues like the Sursum corda while preserving Latin as the normative tongue. The revised of 1969 implemented these principles, rendering the dialogue in local languages—such as English—to foster communal response during the . The 2011 English edition further refined this by adopting more literal phrasing, translating "Habemus ad Dominum" as "We lift them up to the Lord," which echoes the Latin's directional emphasis on more precisely than prior versions.

Usage in Christian Traditions

Roman Catholic and Western Rites

In the of the , the Sursum corda serves as the introductory to the in all four Eucharistic Prayers, marking the transition from the Preparation of the Gifts to the central act of thanksgiving and consecration. The priest initiates with "The be with you," followed by the assembly's response, then "Lift up your hearts" (Sursum corda), to which the people reply "We lift them up to the ." This continues with the priest's "Let us give thanks to the our " and the assembly's "It is right and just," fostering active participation and directing attention heavenward. In solemn celebrations, the is sung, with tones prescribed to enhance its solemnity and musical integrity, as outlined in the rubrics for the Order of Mass. Within Anglican , the Sursum corda has maintained continuity since its inclusion in the 1549 , where it precedes the Proper and in the Communion service. This structure persists in the 1979 , adapted in both Rite I—using traditional language such as "We lift them up unto the Lord" and "It is meet and right so to do"—and Rite II, with contemporary phrasing like "We lift them to the Lord" and "It is right to give him thanks and praise." The dialogue underscores the communal invitation to eucharistic prayer, preserving the ancient form across revisions while allowing for tonal variations in choral settings. Lutheran traditions in the echo this usage through the Sursum corda in the Evangelical Lutheran Worship (2006), where it directly precedes the Great Thanksgiving in the Holy Communion . The exchange mirrors the and Anglican forms—"The Lord be with you" and responses leading to "It is right to give him thanks and praise"—positioned after the Prayers of the Church to prepare the assembly for the eucharistic acclamation. This placement emphasizes thanksgiving as the rite's core, aligning with emphases on participatory .

Eastern Orthodox and Oriental Rites

In the Byzantine Rite, the Sursum corda forms a pivotal dialogue at the outset of the Anaphora in the Divine Liturgy of St. John Chrysostom, where the priest intones in Greek, "Ἄνω σχῶμεν τὰς καρδίας" ("Let us lift up our hearts"), to which the congregation responds, "Ἔχομεν πρὸς τὸν Κύριον" ("We have them with the Lord"). This exchange, preceded by the deacon's admonition—"Let us stand aright; let us stand with fear; let us attend to the offering in peace"—directs the assembly to spiritual attentiveness amid the hierarchical structure of the rite. Participants often adopt the orans posture, raising hands eastward toward icons of Christ and the Theotokos, embodying a mystical ascent to the heavenly realm and underscoring the liturgy's emphasis on communal transcendence over earthly concerns. Among the Oriental Orthodox traditions, the of St. Basil incorporates a parallel dialogue before the Anaphora, with the priest declaring, "Lift up your hearts," and the replying, "They are with the ," followed by an to give thanks met with "Worthy and right." Performed typically in with translations for , this exchange occurs after the and , heightening the rite's mystical focus on the divine presence through rhythmic chants and priestly blessings directed eastward and westward. The ritual highlights hierarchical roles, as the priest elevates the while invoking with the saints, distinguishing it from Western forms by its integration of ancient Sahidic phrasing rooted in third-century traditions. In East Syriac rites, the Anaphora of Addai and opens with the priest's call, "Let your hearts be on high," eliciting the response "To thee, the of Abraham and of and of , the glorious King," followed by the priest's "The offering is being offered to the of all" and the people's "It is meet and right," which transitions into thanksgiving and the . This East formulation, preserved from at least the seventh century, emphasizes a profound heavenly ascent through its poetic responses linking the worshippers to Abrahamic covenantal themes, often accompanied by elevated tones and gestures of that reinforce the rite's mystical and apostolic heritage. Unlike more structured Western dialogues, the version prioritizes immersive praise, reflecting the tradition's ancient roots in third-century East Syrian practice.

Protestant Adaptations

In Protestant traditions, adaptations of the Sursum corda emphasize congregational involvement and accessibility, drawing from its origins in Roman Catholic and Western rites while simplifying the dialogue for vernacular use and direct participation in worship. In Reformed traditions, particularly Presbyterianism, the dialogue appears in the Book of Common Worship (2018 edition) as the opening of the Great Thanksgiving, presented in a concise English form to promote immediate communal thanksgiving without retaining the full Latin structure. The exchange typically reads: "The Lord be with you." / "And also with you." / "Lift up your hearts." / "We lift them to the Lord." / "Let us give thanks to the Lord our God." / "It is right to give him thanks and praise." This version fosters a sense of elevation toward God while streamlining the rite for modern services. Methodist and Baptist liturgies often treat the Sursum corda as optional in contemporary settings, allowing pastors flexibility to incorporate or adapt it based on the service's tone and audience. For instance, the United Methodist Hymnal (1989) includes the dialogue immediately before the Great Thanksgiving, inviting the assembly to prepare their hearts for the Eucharistic prayer through responsive affirmation. Evangelical worship frequently omits the formal Sursum corda or paraphrases it in free-form services to prioritize spontaneity and personal expression, though it persists in high-church Protestant environments, such as select Baptist congregations that maintain structured liturgical elements.

Theological and Symbolic Importance

Themes of Spiritual Ascension

The phrase Sursum corda evokes profound ascension imagery in , drawing directly from the biblical account of Christ's in Acts 1:9-11, where Jesus is lifted up into , symbolizing the believer's call to join the divine realm through spiritual elevation. This motif portrays the human heart as ascending with Christ, the Head, to , emphasizing between the body of believers and their exalted , as articulated in early patristic interpretations that link the liturgical to the baptized Christian's heavenly . In this context, Sursum corda serves as a summons to transcend earthly concerns, mirroring the disciples' gaze upward in the scriptural narrative and inviting participants to participate in the eternal of . Central to its eucharistic connection, Sursum corda prepares the assembly for the , the invocation of the that transforms the bread and wine into the and , paralleling the lifting of hearts as a prerequisite for this divine action. This preparation fosters a of spiritual readiness, where the elevation of the heart aligns the worshippers with the sanctifying work of the Spirit, enabling the elements' consecration and the remission of sins through heavenly participation. It also embodies eschatological hope, connecting the present to the future realized in the , and , where believers participate in Christ's body and blood. The thus bridges the earthly with celestial reality, underscoring the eucharistic prayer's role in realizing the transformative power of grace. Patristic commentary, particularly from St. Augustine, interprets Sursum corda as a call to interior , urging over by redirecting the heart from worldly attachments to heavenly treasures. In his Sermon 227, Augustine explains that the command to lift up the heart follows and rightly applies to Christ's members, whose Head has ascended, banishing earthly thoughts to focus on and fostering unity in the as a remedy against avarice and division. This emphasis on grace-enabled ascent highlights the phrase's role in purification, where baptismal with the risen Christ empowers believers to overcome sin's pull and embrace divine .

Role in Communal Worship

The Sursum corda serves as a pivotal element in communal , structured as a call-and-response exchange between the presiding minister and the gathered assembly. Typically, the minister intones "Lift up your hearts," to which the people reply "We lift them up to the ," followed by "Let us give thanks to the our " and the response "It is right and just." This shifts the liturgical dynamic from a unilateral clerical to mutual participation, fostering a sense of collective engagement and underscoring the assembly's shared role in the Eucharistic prayer. Its ecumenical significance lies in its widespread adoption across Christian denominations, including Roman Catholic, Anglican, Lutheran, and Reformed traditions, often through standardized translations like those from the English Language Liturgical Consultation (ELLC). This commonality enables its use in interdenominational services, where it symbolizes a unified Christian heritage and facilitates joint worship without doctrinal barriers. In pastoral settings, the Sursum corda is employed to evoke hope and communal solace, particularly in contexts like spiritual retreats and funerals. For instance, within the Catholic Rite of Funerals, it forms part of the Eucharistic prayer during the Funeral Mass, inviting mourners to redirect their hearts upward amid grief, thereby affirming resurrection hope and collective support. Similarly, during pilgrimage settings such as John Paul II's 1997 visit to , its invocation reinforced spiritual elevation and communal resilience amid collective trials.

Cultural and Artistic Representations

In Music and Hymns

The Sursum corda dialogue, central to the Eucharistic Preface, has been rendered in using traditional solemn and simple tones as notated in the Graduale Romanum edited by the Abbey of Solesmes. These settings employ notation on a four-line , with the intoning the versicles such as "Sursum corda" and "Gratias agamus Domino Deo nostro," while the schola responds in unison, emphasizing the antiphonal exchange typical of . The solemn tone (tonus sollemnis) appears in the Graduale Romanum (1974 edition) for festal occasions, featuring ascending s on "Habemus ad Dominum" to evoke spiritual elevation, whereas the simple tone (tonus simplex) suits ordinary use with more restrained podatus and clivis groupings. In the Renaissance, composers like Giovanni Pierluigi da Palestrina incorporated elements of the Mass dialogue into their polyphonic works, blending them with imitative counterpoint to enhance liturgical solemnity. This approach influenced subsequent sacred polyphony, allowing the Sursum corda to transition seamlessly into the choral Sanctus. Modern compositions draw from this tradition through Gregorian influences, as seen in Maurice Duruflé's Requiem, Op. 9 (1947), which employs modal structures and reverence for ancient chant amid 20th-century orchestration. Duruflé's setting maintains the dialogue's antiphonal nature in its broader Mass structure. In Protestant hymnals, the Sursum corda inspires congregational songs that adapt its text for communal singing, fostering active participation in worship. Charles Wesley's "Rejoice, the Lord Is King" (1744), with its refrain "Lift up your hearts, lift up your voice; rejoice, again I say, rejoice!", echoes the dialogue's call to spiritual ascent and appears in numerous Reformed and Methodist collections, such as Lift Up Your Hearts (2013). Similarly, modern settings like the Jesuits' "Lift Up Your Hearts" (1972) paraphrase the versicles into a folk-style , promoting joyful response in ecumenical services. For example, in , settings like those in the 2016 album Sursum Corda by the group Bifrost Arts adapt the into indie-folk arrangements for broader audiences.

In Literature and Art

The phrase Sursum corda has inspired literary works that evoke spiritual longing and divine invitation. Christina Rossetti's poem "Sursum Corda," first published in her 1885 collection Time Flies: A Reading Diary, portrays the departed as leaning toward the living, hearing prayers and remembering earthly ties with greater clarity than the living themselves. The poem's structure builds a responsive dialogue, mirroring the liturgical call and response, and culminates in an affirming "Amen," symbolizing a heart lifted toward eternal reunion and heavenly peace. In visual art, Baroque altarpieces frequently feature upward-gazing figures to convey spiritual elevation akin to the Sursum corda. ' Elevation of the Cross (1610–1611), a for Cathedral, depicts Christ with his gaze directed heavenward toward the Father, emphasizing sacrificial devotion and the soul's upward striving amid the drama of crucifixion. Rubens extended this motif in eucharistic-themed works, such as his oil sketch The Glorification of the Eucharist (c. 1625–1626), designed for an ensemble, where swirling angels and adoring saints in dynamic poses suggest collective hearts raised in adoration of the . Modern literary references to Sursum corda appear in 's writings, where the phrase underscores themes of spiritual ascent. In his Latin correspondence with Father Giovanni Calabria (1947–1954), Lewis employs Sursum corda as an exhortation to ecclesiastical unity and hopeful endurance, reflecting a lifted heart amid division. This resonates in Lewis's Chronicles of Narnia, particularly the ascents to Aslan's country in (1956), where characters journey upward through trials to a transcendent realm, echoing the liturgical invitation to transcend the earthly. In 20th-century Orthodox art, the revival of emphasized liturgical dialogues through symbolic depictions of eucharistic worship. Greek artist Photios Kontoglou (1895–1965), a key figure in this movement, created icons and frescoes portraying communal prayer scenes to underscore the believer's upward orientation during the .