In contemporary music circles it is exceedingly common for an artist to reissue a previously released recording in the form of a "remix;" a slightly modified version, musically or lyrically, of one of the artist's prior chart-toppers.

The fact that most remixes do not significantly depart musically from their originals has prompted some skeptics to charge that the "remix" is nothing more than a thinly veiled attempt to get more "buck" for the artist whilst adding little "bang" for the listener.

Artists rebut this charge by suggesting that music in general, and a remixed song in particular, can be likened to a gem; each creation being a many faceted jewel through which the listener is invited to apprehend the depth and complexity of the musician's soul.

When viewed thus, the remix becomes an opportunity to appreciate another facet of the artist's musical gem.

So in the interests of keeping this liturgical lexicon liturgically hip, we shall take another sip at the chalice in order that we may savour the other mysteries that are contained in its depths.

Those who read the first installment on the Chalice will recall that the discussion centered upon the vessel itself, suggesting that, in the early church, the common cup from which we sip began its life as a common bowl - from which some slurped.

However, as the chalice evolved in liturgical use, the cup supplanted the bowl to become the preferred shape and form from which to partake of the blood of Christ's sacrificial offering.

In fact, from at least the fifth century the chalice's composition has been relatively fixed and is comprised of three parts: the bowl, the foot (or base), and the knop (the knob-like ball joining the bowl and base, which the chalice bearer holds as a pivot when administering the sacrament).

However, while these elements have remained unchanged, the bowl of the chalice has grown, literally, to meet the needs of the faithful.

In the early church, when only the priest and other sacred ministers received the cup, the bowl of the chalice was quite slender in proportion.

However, since the reformation, when the laity became more fully involved in the Eucharistic celebration, receiving the sacrament in both bread and wine, the bowl of the chalice was enlarged to accommodate the extra wine that was needed for all to partake of the wine of their tomorrow.

Far from being the last change that was made to the chalice, the increase in the size of the bowl was just the beginning.

The material of which chalices were made has also varied through the ages.

Precious metals came into vogue only after the Emperor Constantine converted in the 4th century, and the Church found itself with access to the coffers of the state.

These days, with the largess of emperors and potentates no longer at our disposal, chalices are not nearly so ornate, but we continue to add a touch of opulence to this most sacred of sacred vessels.

Contemporary chalices are typically of silver, with a gold-plated bowl.   Our reasons for these extravagances are twofold: first, there are practical concerns about safety and hygiene.

The gold-plating of chalices is intended to protect us from the toxic chemical reaction that occurs when wine sits in silver.

But secondly, and perhaps more importantly, we indulge ourselves in the use of rich metals for our chalices because we want to provide a vessel which is worthy of the sacrament it contains.

Such a vessel ought to be whatever a community's best is.

However, unlike our forebears, that richness need not extend to encrusting the cup of our salvation with precious jewels.

To revive that gem of a metaphor, i.e., the metaphor of the gem, with which we began, the mystery of the salvation that we encounter in the Eucharist is indeed many-faceted, but the richness and depth of God's love is revealed, not in what adorns the chalice, but what is contained therein.

The Grace that is poured out of the chalice with every sip we take is nothing less than the steadfast love of God, a love that transforms all of us diamonds-in-the-rough into precious stones that reflect his glory.