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Amidst the growth and development of different civilizations, art and architecture progressed simultaneously, shaping one another. At many times they advanced analogously. This research presents different aspects of art that are employed in churches and investigates whether there is an analogy between these aspects in church architecture as well or not. Cases from different church denominations are presented from both Egypt and Mediterranean countries in Western Europe, thus discussing the dialect between art and architecture. The domain of the church was selected for this dialect, as art is employed affluently in many worship houses in general and churches specifically, deeming the task viable and comprehensible. [ABSTRACT FROM AUTHOR]

Copyright of Asian Music is the property of University of Texas Press 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 so-called Henry of Blois enamels in the British Museum have received much attention over the years, but there is still no consensus as to their original function. This article reassesses the evidence, first in order to outline some fundamental doubts about the argument that has been championed most recently in the scholarship: that they were the terminals of a great cross; secondly, to offer new arguments, largely drawn from the nature and iconography of the plaques themselves, in favour of the claim that they belonged to an item of altar furnishing, most probably an altar frontal. A final section considers the evidence, such as it is, for that frontal belonging to the high altar of Winchester Cathedral. [ABSTRACT FROM AUTHOR]

Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)

Paolo Sorrentino called his series The Young Pope "a thriller of the soul." In this religio-political drama, Sorrentino explores the fortune of the Catholic Church were a young, intransigent, irritable American cardinal elected pope. Building his story line around the life of Christ, with intertextual citations to the New Testament and visual allusions to Christian art and Jesus movies, Sorrentino offers a twenty-first-century gospel to remind the viewer that the gospel is not only about tolerance. By presenting his young pope as the returned Christ, and not as a Christ figure, he shows that conservatism is equally present with liberalism in its message. [ABSTRACT FROM AUTHOR]

This paper seeks to give insight into conservators' reflections about their practice and professional role. Ecclesiastical art from and in churches is an example where a variety of claims can be present and trigger diverse approaches to conservation and restoration. In this study we approached ecclesiastical art as a gateway to insight into conservator-colleagues' experiences and their views on decision-making, prevailing ethical boundaries, and the conservator's professional role. To gain access to the practitioners' own words and reasoning, in-depth interviews with seven conservators were chosen as a method. The interviews were analysed using a variant of qualitative analysis with an ideal of a theory-free starting point and by taking a constructivist and inductive approach. Through coding, themes and theories emerged from the data, which gave insight into a Norwegian status quo of practice, three emerging categories or topics caught our special interest and are described and discussed in this paper. The category, Conservation is a narrow path, gives an account of internal and external restrictions in the field. Internalised ethical restrictions and financial limitations are most often determining factors for conservator's decisions. The second category, Acting on behalf of objects, shows that conservators tend to feel obliged to the objects rather than to stakeholders. They understand their roles as defenders and mediators of the object. Conservators' potentially emotional closeness to the object is discussed. The experts should have the strongest voice, refers to the fact that stakeholders' opinions are only sparingly involved in decision-making among the interviewed conservators. Instead, projections of possible interests of stakeholders are often part of the conservators' basis for decision-making. However, external preconditions, as the mandates given by authorities, and financial issues play a role in the rather top-down nature of communication and decision-making. In light of (recent) claims for more people-based decision-making there seems to be a gap between theory and practice. Nonetheless, the authors argue that the conservator's engagement for and with the material object still is a necessary point of departure for conservation endeavors. [ABSTRACT FROM AUTHOR]

In 1903 the German art historian Karl Giehlow argued that a 1514 treatise on Greek numismatics, written by the Augsburg humanist Conrad Peutinger and addressed to the Holy Roman Emperor Maximilian I, shed new light on Albrecht Dürer's mysterious engraving Melencolia I. Since the treatise has never been published, the question has never been investigated. This article presents a transcription, commentary and translation of the treatise for the first time in any language. It also situates Peutinger's work within the history of scholarship on Greek antiquity and the history of German Renaissance art. The central concern of Peutinger's treatise turns out to be a precocious and unexpected one: neither the exploits of the ancient hero whom the coin in question depicts, nor the possible lineage of the Habsburg emperor back to Hercules, but the material history of religion on an island in the Hellenistic Aegean. The article describes the leaps and misunderstandings that led Peutinger to endow his object, an everyday piece of ancient currency, with artistic significance and a sacred aura. Pace Giehlow, it is not the Melencolia I that is illuminated by the text, but artworks produced locally: the Prayer Book of Maximilian and the classical and sacred craftsmanship of an Augsburg goldsmith. The interpretation of Greek artworks did not just influence the art of a Christian city: Christian art, on the evening of the Reformation, coloured the interpretation of Greece. [ABSTRACT FROM AUTHOR]

During construction of a 6 km long railway tunnel close to historic churches in Stockholm, a preventive monitoring model was applied for ensembles of large-scale immovable ecclesiastical artworks. Construction work such as blasting and pile-driving took place during five years under or very close to these immovable works of art. In Sweden, risk assessment related to construction work is focused on risks associated with the building; meanwhile, there is no common approach for protecting the immovable historic works of art and architectural surfaces. This paper discusses how a preventive model for vibration monitoring on immovable artworks was developed and used as well as how the preventive purpose was perceived by different stakeholders during and after the tunnelling work. Experience from this project concludes that monitoring that includes uniform visual inspection becomes crucial for being able to protect the artworks. The concept of vibrations standards relying on fixed numbers of critical vibrations levels for mitigating the effects of vibration on immovable art can be questioned based on experiences from this project. [ABSTRACT FROM AUTHOR]

This Note argues that the fourth pseudo-hieroglyph from the left in Giorgio vasari's Chatsworth allegory of a Dream, previously regarded as a symbol of the sin of pride or else not interpreted, is, in fact, the depiction of a castle in the air (castello in aria). I show that the rare iconography of an upside-down castle was inspired by an illustration from an Italian translation of the dialogues of Lucian of Samosata and give a brief overview of the importance of the motif of the castle in the air in sixteenth-century Italian culture. I also propose that vasari's drawing was a design for a ceiling panel intended for Giovanni Corner's palace in venice and show its dependence on Francesco primaticcio's allegory of the Nile for the palace of François Ier at Fontainebleau. [ABSTRACT FROM AUTHOR]

The article discusses 15th century archbishop Amédée de Talaru's illuminated pontifical conserved at the diocese library Bibliothèque diocésaine in Besançon, France. Several illuminations created by Swiss illuminator Jean Bapteur are examined. The manuscript's trajectory is briefly discussed and information about de Talaru is also given.

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]

This paper focuses on Amico Aspertini's engraving Genesis Scene with Fall, Expulsion, Adam and Eve after the Fall, and Abel's Sacrifice, a complex allegory that places a self-mirroring man in the middle of the events. The aim of the article is to highlight the general importance of the mirror motif in representations of the biblical story of Eden. On the one hand, the seduction of Eve was understood as a visual event and as an act of artful illusion. On the other hand, envy (invidia) or, alternatively, pride (superbia) was considered to be the reason for the original sin. And either personification had a mirror as its main attribute. Aspertini's engraving takes up this understanding of the fall to show that his own art and more generally all figurative imitations thrive on the productive tension between diabolic allurement and divine vision. [ABSTRACT FROM AUTHOR]

Menelik II was both King of Shewa (1865–1888) and Emperor of Ethiopia (1889–1912). In the late nineteenth century he was confronted with issues unique to the era of European colonization in Africa. This paper examines Menelik II's use of the visual arts in expressing and communicating ideas about royal authority and power. I examine several illuminated manuscripts commissioned by Menelik II. The books document how Menelik II borrowed and adapted objects and symbols from Ethiopia's ancient past as a Christian power. Menelik realized that his image as an African ruler who retained his independence was unique within the contexts of late nineteenth-century Africa, wherein the entire continent was colonized except for Liberia and Ethiopia. Menelik II used the traditional Christian art of manuscript illumination in Ethiopia to create visual images that symbolically reinforced his authority as both a Christian and an African sovereign. [End Page 1] [ABSTRACT FROM AUTHOR]

Through the prism of iconography, we may be able to better understand Vecchietta choices towards the end of his career. His last known bronze sculpture, a gaunt Christ, executed in 1476, is widely agreed to represent the Risen Christ. Today, stands atop the high altar of the Santissima Annunziata, the Hospital Church was neither its original nor intended location. In fact, the figure was meant to ensemble which, together, constituted Vecchietta's funerary chapel. This article unequivocally that the present setting of the statue has fostered an iconographical naturally, the subject of the statue is Christ; but he represents the not the Risen Christ. An exploration of the significance of the iconography of the in mid-fifteenth-century Siena, and its possible antecedents, reveals connections Northern European artefacts circulating in central Italy at the time. The result is to set Vecchietta's sculpture free from previous preconceptions, shedding new artwork and triggering new questions about the artist who made it. [ABSTRACT FROM AUTHOR]

When, around the turn of the fifteenth century, the art of northern Europe developed a pictorial motif whereby an angel delivers the news of the Incarnation in the form of a sealed document, the material properties of ink and wax metaphorically evoked the unique properties of the inscription of divine form upon Mary's virginal body. The social impact of this communication, the dissemination of the message to a community of recipients, could be strengthened by references to the re-transmittable nature of the announcement, as enforced by other indicators of sociability detectable in different portions of the narrative scheme. The Tücher Altarpiece in Nuremberg and Michael Wolgemut's altarpiece for the cathedral of St. Mary in Zwickau present two examples of uses of the epistolary Annunciation that may have influenced Albrecht Dürer, who employs the motif in his woodcut series The Life of the Virgin, which also contains, along with this pictorial form of broad address, more narrowly articulated messages to his contemporaries in the form of written words. [ABSTRACT FROM AUTHOR]

In the vast majority of representations of the Flight into Egypt, the child is huddled upon the Virgin's lap or held in her arms. In addition to this traditional model, some interpretations of the Flight into Egypt show the child riding on Joseph's shoulders or being held in his arms. The inventory of the representation of Joseph christophore from the fifth century to the mid-fifteenth century in Latin and Greek Christendom provides an insight into the frequency of this iconographie specificity of the Flight into Egypt, its diffusion and regional adaptations, as well as its meanings, via theological and exegetical texts. [ABSTRACT FROM AUTHOR]

The article reports on the Renaissance altarpiece of San Juan del Obispo in Sacatepéquez, Guatemala. Topics discussed include the altarpiece contracts for the Chapel of the Rosary of the Spaniards, in the temple of Santo Domingo in the years of 1615, and 1692; works of painters Quirio Cataño, Pedro de Liendo and altarpiece assembler Vicente de la Parra; and a painting by Jacopo di Ponti.

The article discusses a 2007-2008 art project at Grantham Church in Grantham, Pennsylvania that depicted core values of the Brethren in Christ Church in relation to sermons preached by pastor Terry L. Brensinger. Topics include the worship of God, the nature of baptism, and the importance of community. Also addressed are peace, simple living, and prayerful living. Pictures of robes with these themes are presented.

The article discusses the mosaic in the apse of the Basilica of Saint Ambrose in Milan, Italy. The author argues that the work, dating to the medieval period, serves as the keystone of the basilica's entire iconographic program. The apse in Saint Ambrose is compared to the mosaic apse of the old Saint Peter's basilica in Rome, Italy.

The Christianisation of Estonia has been a subject of extensive research already for a couple of centuries. Archaeologists generally agree that some elements of Christian religion were present in Estonia already prior to official Christianisation at the beginning of the 13th century. Still, speculations about what those elements were and what they meant have been avoided. We suggest that the materiality of Christianity is wider than traditional cross pendants, and other objects carrying Christian symbols should be considered as well. As a conclusion, we outline some Christian elements that were probably used by local people before the official baptism; to describe these people, a new concept - prehistoric Christians - has been taken into use. [ABSTRACT FROM AUTHOR]

The article discusses the practice of wealthy families to endow private chapels and altars at the Camaldolese monastery of Santa Maria degli Angeli in Florence, Italy. Focusing on the fourteenth and fifteenth centuries in particular, the author provides an extensive description of various chapels and the religious themes and figures to whom they were dedicated. These decorations included christological motifs, the cult of the Virgin Mary, and the veneration of early Christian and medieval saints.

The article discusses the works of late medieval sculptor Niclaus Gerhaert van Leyden, particularly a male bust dated to around 1463 and often considered a self-portrait. Issues addressed include Christian symbolism in 15th-century German sculpture, the representation of contemplation in art, and the angels in the panel depicting the crucifixion of Jesus of Nazareth on the altar of the church of St. Jakob in Rothenburg ob der Tauber, Germany.

The article discusses the symbolic representation of Ecclesia (church) and Synagoga (synagogue) in the interior decoration of the cathedral of Freiburg im Breisgau, Germany, particularly in a stained-glass window and in a relief in the tympanum. Comparisons to this motif in medieval Christian art in other contexts, including in illustrated medieval manuscripts and in the church decorations of the cathedrals of Erfurt, Germany, and Cologne, Germany, are made.

The article offers information on the depiction of prophet Lehi of the image of Tree of Life. It states that rural and urban images in Lehi's allegory of the Tree of Life, are rooted in the real interplay of rural and urban values and the sustained suppression of rural perspectives and values by urban ones.

Indices of places, persons, and iconographic themes discussed in the 2012 volume of the journal "Das Münster" are presented.

The article reports on the restoration of a Reformation-era altarpiece depicting the Carrying of the Cross, which was discovered in the church St. Gertrauden in Pratau, Germany, and attributed to the workshop of German Renaissance painters Lucas Cranach the Older and Lucas Cranach the Younger. The author outlines the importance of Christian artworks such as altarpieces to the history of the Reformation and for 16th-century art history and situates the restoration project within a broader initiative to restore art in churches in central Germany jointly funded by the Evangelische Kirche in Mitteldeutschland (Protestant Church in Central Germany) and the government agencies for historic preservation in the states of Saxony-Anhalt, Thuringia, and Saxony, Germany.

The article discusses the art and symbolism of the decorations on the cover of a medieval gospel book that once belonged to the Abbess Theophanu of Essen, which is part of the treasury of the Minster of Essen, Germany, formerly known as the Church of Saints Cosmas and Damian. The author focuses on two ivory reliefs depicting, respectively, the birth and death of Jesus Christ. Topics addressed in the iconological analysis presented include the representation of Biblical stories in medieval art, the use of precious stones in book decoration and ornamentation, and the symbolic link between Jesus and Moses established by the design.

The article discusses a series of 13 photorealist paintings depicting the Stations of the Cross, which were designed by German artist Ben Willikens for the cathedral of Würzburg, Germany. The author examines the use of grays and blues in the paintings, the representation of space in them, and the relationship between light and dark. He also considers the symbolism of the Veil of Veronica and of clouds as representations of emotions. Speculations on the potential reception of the paintings by viewers are also offered.

The article discusses an art installation depicting the Stations of the Cross in the Mariä Sieben Schmerzen church in the Hasenbergl neighborhood of Munich, Germany, which was designed in the early 21st century by German artist Regina Viktoria Schmidt. The author describes the 14 stations represented by abstract, monochrome relief prints created through a paper embossing process and colored using sfumato-like techniques, including the arrest of Jesus, the three falls of Jesus, and the encounter of Jesus with Mary, his mother.

The article discusses a series of busts depicting the Stations of the Cross in the St. Theresia church in Münster, Germany, which were designed by German artist Silke Rehberg. The author provides background information on Rehberg's career and artistic philosophy and technique, on the historical conventions of representing the Passion of Jesus Christ in art, and on how these conventions were altered and modernized in Rehberg's installation, which consists of only the head of Jesus in different positions. He emphasizes that the installation invites a dialogue between the sculptures and the viewer.

The article discusses glass windows depicting the Stations of the Cross in the St. Josef-Kinderhaus church in Münster, Germany, which were designed by German glass artist Silke Rehberg. The author provides background information on Rehberg's career and artistic philosophy and technique, as well as on the historical conventions of representing the Passion of Jesus Christ in art. She then provides a detailed analysis of the windows, including those depicting the conviction of Jesus, Jesus' fall, and Simon of Cyrene helping Jesus carry the cross.

The article focuses on the church of the Virgin at Meronas which is located in the Amari in Rethymnon and mentions the wall paintings in the church. It discusses depiction of Constantinopolitan art in its wall painting. It mentions that Kallergis family has confirmed importance of Cretan church in establishment of Constantinopolitan painting's idealistic trends. It presents several photographs of wall paintings which depicts Jesus Christ, Virgin Mary and Joseph.

The article discusses a German church society, which was founded in order to collection, preserve, and exhibit Christian art and liturgical objects, and is located at the church museum in the German dioceses of Würzburg. The art collection includes works by the artist Ben Willikens, sculptures by the artist Tilman Riemenschneider, and paintings by the artist Jehuda Bacon. Several pictures of artifacts and the church museum are presented. Other topics mentioned in this article include the collection management of this church art collection, federal aid to art collections, and the concept of welfare and support in Christianity.

A conference paper about the term of Christian art, its history, and research situation is presented. It discusses the purpose of art according to the policy of the Catholic church, with special attention to the statements of Pope Benedict XVI. and Pope Paul VI., the relationship of art and Christianity, and Christian values. Several photographs of art exhibitions and installation in churches are presented. Other topics mentioned in this article include the history of the Catholic church of the 19th and 20th century, the Japanese artist Noriyuki Haragushi, and the U.S. artist Jack Pierson.

The article discusses the difficult relationship between art and Christianity due to the modernization process in the 18th century, its impact on several art movements such as the German romanticism, Nazarenes, and Classicism, as well as its influence on modern Christian art. The philosophy of the enlightenment brought rationalism into the art and challenge Christian art and its believes. Several photographs of art works are presented. Other topics mentioned in this article include depiction of Christ in art, the concept of radical pluralism in art, and the religious function of art museums and exhibitions.

This is the first detailed published study of the stained-glass 'band' window which survives in the east end of St Mary's church, at Selling in Kent. It is argued that the Selling window was installed in the second decade of the 14th century; not, as is usually thought, the first. The window is a hierarchical statement, embodying a number of interrelated levels of meaning. Its primary function is to celebrate Christ's incarnation, and the role of the Virgin and other saints as intercessors for mankind at the Last Judgement. The window clearly also commemorates the glory days of Edward I, who died in 1307. The historical evidence and the iconography suggest that, in addition, it is a memorial to the Clare family, installed after the English defeat at Bannockburn in 1314, commemorating the death of Gilbert III of Clare, earl of Gloucester and Hertford. The window was probably commissioned by the local lord Bartholomew Badlesmere and his wife, who was Gilbert's cousin, between 1314 and 1317, when Bartholomew was executor of Gilbert's estate. [ABSTRACT FROM AUTHOR]

The article discusses an exhibition pamphlet written by the Victorian artist William Holman Hunt for an exhibition of his painting "The Triumph of the Innocents," or "The Flight into Egypt." The author discusses how he found the pamphlet at the British Museum and briefly comments that Hunt's painting juxtaposes realism and Christian spirituality. A complete transcription of the pamphlet is presented.

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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.)

Operas originate in profane inspiration, courtier music and profane dramatic shows. Religious themes, related to Christ's life, were originally banned from representation on the public stage. These were reserved to religious works such as oratorios. "The terrible mysteries of the Christian faith may not be by profane subjects adorned", said Boileau. In order to break the ban, authors of opera librettos borrow from ancient mythology and from modern history themes such as descents to hell (Alcestis, Orpheus) or redemptive sacrifice (Iphigenia, La Traviata), concealing their Christian symbolism. The presence of Christian holy themes on a profane stage, though common during the 20th century (e.g. Jesus Christ Superstar), may still attract accusations of blasphemy or profanation. [ABSTRACT FROM AUTHOR]