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Copyright of Der Islam is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Praehistorische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Rheinische Vierteljahrsblatter is the property of Universitat Bonn, Inst fur Geschichstwissenschaft, Abt Fruhe Neuzeit & Rheinische Landesgeschichte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mainfränkisches Jahrbuch für Geschichte und Kunst is the property of Freunde Mainfraenkischer Kunst und Geschichte e.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The floor mosaics of the double basilica, founded by bishop Theodorus in approximately 313/20 AD, feature a motif of nature's abundance, with a variety of animals and plants from the Hellenistic tradition evoking the themes of the cosmic rebirth at Easter and heavenly bliss. Among these images, there are several that deserve particular consideration for their liturgical meanings related to the Eucharistic sacrifice. In both churches, the images of the struggle between the cock and the tortoise are spatially linked to the altar. This imagery is drawn from the pagan repertoire and it symbolizes the renewal of man through the passion and resurrection of Jesus. In the picture of the southern church, there is a puzzling numeral that may refer to the square footage of a mosaic paid for by anonymous donors who, in exchange for their donation, hoped to receive the prize of eternal life. Additional inscriptions commemorate the faithful in both presbyteries near or at the altars. On the sides of the northern one, there is a ram, a prototypical sacrificial animal, and a white hare, a symbol of paschal transfiguration. These images hint at the underlying truths of the Eucharist. Here, as well as in the southern basilica, the sunlight entering from the windows, especially during the Easter season, illuminates the mosaics, emphasizing their paschal symbolism. In the southern church, particularly, the iconography is more intimated in relation to liturgy. Indeed, a wooden table for oblation stood probably on the mosaic of the ›Eucharistic Victory‹, which was flanked by two baskets, one filled with ears of corn and the other with bunches of grapes - both symbols of the Eucharistic species. Archaeological, biblical, and literary evidence implies that martyrs were invoked as intercessors to sanctify the species, here likely also by virtue of their relics. In the presbytery, there is a mosaic of Jonah prefiguring the death and resurrection of Christ; at the center of the mosaic was the altar on which those mysteries were renewed in the holy Sacrifice of the Mass. Next to it, the praying, white-clad man likely alludes to the celebrant. In this context, the fishing erotes are not just a genre subject; rather, radiating from the altar, they represent the joyful announcement and the bestowing of God's healing love for all people in the troubled sea of this world. In this original way, after the end of the persecutions, early Christian art, which was still closely bound to Graeco-Roman forms, experienced its first public expressions of faith. [ABSTRACT FROM AUTHOR]

Copyright of Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In agreement with the last will of Doge Francesco Erizzo († 1646), his heart was buried in San Marco, the political and religious center of the Serenissima, next to the high altar and thus ad sanctos to the relics of Venice's patron saint. This unprecedented privilege not only disrupted the city's restrictive policies concerning public monuments, but her republican ideals in general. Due to the significance of the heart in Christian eschatological thinking and corporal state doctrines his burial elevated Erizzo to the status of an absolute ruler threatening the Republic's sacred constitution. In Venice, however, individual and public interests were closely intertwined. This study therefore analyzes the heart burial in the context of Erizzo's self-fashioning, Venetian state ideology, devotional practices and collective memory. [ABSTRACT FROM AUTHOR]

The article discusses how sacred objects such as saints' relics were collected and circulated by spiritual communities, with focus on the study of the materiality of these objects and their direct environment.

Copyright of Das Achtzehnte Jahrhundert is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the attitudes among Protestants toward a Catholic pilgrimage to the Holy Robe in the cathedral of Trier, Germany, in 1844. Focusing on the Protestant parishes of Winningen, Koblenz, Trier, and Bonn, Germany, the author seeks to shed light on the confessional conflicts and debates about the relationship between the Protestant Prussian state and the Catholic Church in the 19th century. Issues addressed include the social conditions of Catholics and Protestants, Ultramontanism, and the history of religious processions in the Rhineland region of Germany.

Copyright of Mainfränkisches Jahrbuch für Geschichte und Kunst is the property of Freunde Mainfraenkischer Kunst und Geschichte e.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For a long time the treasure of relics, donated by duke Rudolph IV of Austria to the newly founded collegiate chapter All Saints at St Stephen's in Vienna, has attracted much interest from historical researchers. The earliest written source for the treasure, which is mostly lost today, is kept in the archives of the diocese of Vienna and dates back to the second half of the 14th century (relic inventary no. 1). The edition at hand is based on two only slightly later manuscripts, the first of which was written for the provost, and the second one, containing numerous additions and glosses, for the custodian of the collegiate chapter. The commentary provides information on the provenance of the relics and draws on early and recent research on the appearance of the reliquaries. An illustrated inventory, the "Heylthumbuch" from 1502, supplies corresponding pictures (which can be downloaded from the website of the IÖG) for the illustration of the former treasure. [ABSTRACT FROM AUTHOR]

Focused on the example of Amiens Cathedral (ca. 1489-1532), this study questions the relations among choir screen, liturgy, and the cult of relics. It will explain that the image cycle of the choir screen prepared the laity for the visit to and worship of the cathedral's relics and supported the staging of relics, especially during the feast days of the saints. This was possible through the arrangement of the saints' cycles, the choice of scenes, their pictorial rhetoric, and finally by the orientation of the reading direction in relation to the liturgy and cult-topography of the cathedral. The close interaction between image and liturgy could even extend to synesthetic effects. The choir screen therefore appears not only in its primary function of separating the laity and clergy but also in its pictorial decoration as a type of furniture essentially defined by liturgy. [ABSTRACT FROM AUTHOR]