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This article offers a pedagogical approach to introducing undergraduate students to hagiology by comparing medieval sanctity to modern celebrity. The bodies of saints and celebrities are important loci for the transmission of sanctity or celebrity from a person to the public and for the continuity of identity. Examples include St. Faith, St. Cuthbert, Kim Kardashian, and Marilyn Monroe. Using a comparative method allows students who are non-religious to better apprehend the unfamiliar practices and beliefs around the cult of saints and relics. [ABSTRACT FROM AUTHOR]

In the 11th–12th centuries, extreme ascetic practices reappeared in Western Europe, in particular, the wearing of hauberks and heavy iron chains, associated with penitence and eremitism. This article discusses the charisma of three ascetic saints of the 12th century: Bernard the Penitent (d. 1182), Wulfric of Haselbury (d. 1154/55), and Godric of Finchale (d. 1170). Their hagiographies were written shortly after their death. The authors emphasize that they were revered as holy men already in their lifetime. Their charismatic power was revealed by miracles of healing and prophecy, sometimes in visions. The manifestations of their charisma continued and even increased after their death and were transmitted and spread through their relics. Their mortifications and the signs of their holiness are comparable to those of the stylites and other hermits of Syria of late Antiquity. [ABSTRACT FROM AUTHOR]

The article offers a revisionist account of the early circulation of copies of the Madonna of Santa Maria Maggiore, known since the nineteenth century as the Salus Populi Romani. Traditionally, the propulsion of the image into global circulation has been attributed variously to Pius V or Francisco Borja, the third Superior General of the Society of Jesus. The article argues that the circulation of the Saint Luke Madonna, as it was known at the time, was closely tied to the martyr's cult that grew up around the Jesuit missionary Inácio de Azevedo and the so-called Brazil Martyrs, a group of Jesuits murdered by Calvinist corsairs off the Canary Islands in 1570. Azevedo had intended to carry a copy of the Roman icon to Brazil, a copy that perished at sea with Azevedo and the party of Jesuit missionaries. The article suggests that the popularity of the image among Jesuits in Europe and the overseas missions was fueled by the nascent martyr's cult that followed Azevedo's death. Painted copies of the Saint Luke Madonna came to function, together with relics of the Eleven Thousand Virgins of Cologne, as proxies for the missing material remains of the martyred Jesuits. The article argues that while the distribution of the image was globally extensive, circulation was restricted to an internal Jesuit martyr's cult. [ABSTRACT FROM AUTHOR]

This article scrutinizes the use of liminality as a term to understand medieval dance practices. With the case of the feast day of St. Eluned described in Gerald of Wales Itinerarium Cambriae, I first present common ways that historians and theologians have used the term liminality in order to describe historical depictions of feasts of saints where more unruly forms of movement and dancing have happened. I then analyze this specific depiction by Gerald of Wales through a combination of a kinesic approach and a hermeneutics of suspicion and charity. This approach shows that earlier understandings of dancing always being a problematic element in traditions of Christianity in the west needs to be nuanced. After this, I turn to the critique that Caroline Bynum Walker has brought up, concerning the use of the term liminality in the medieval context. Taking her critique seriously, I return to the story of St. Eluned by focusing on the lived religion from the perspective of the female characters in the setting. Finally, I also bring in Vincent Lloyd's distinction between rituals and liturgy, to further strengthen how theological discussions can bring in more nuanced and important additions in how we may understand chaotic forms of medieval dance in new ways. [ABSTRACT FROM AUTHOR]

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This article reassesses pilgrimage practices in eleventh- and twelfth-century England and questions the assumption that pilgrims had relatively unrestricted access to saints' shrines and relics in this period. Drawing on hagiographical evidence, and focusing on six case studies, the article finds that remarkably few pilgrims are depicted in close proximity to a saint's shrine in these narrative sources; they are instead shown venerating at alternative places of devotion such as holy wells, empty graves and extra-mural chapels. It proposes that policies of restricted access were operated by many English cult centres earlier than is often imagined, and in discussing why ecclesiastical institutions may have distanced the laity from their principal shrines the article sets its conclusions within the wider religious developments of the time. [ABSTRACT FROM AUTHOR]

While Becket's relics are likely to have been owned by institutions and individuals throughout much of later medieval England, the reliable surviving evidence for them is limited. Without pretending to anything like completeness, the present essay assesses a range of sources in order to determine (or at least suggest) their usefulness for constructing a historically rooted understanding of the definition, distribution, appearance, and housing of Becket-relics. The approach taken arises partially from an ambition to cover as much ground as possible in the available space, and partially from misgivings about the value of documents whose original contexts cannot be satisfactorily reconstructed. The analysis is intended to contribute to scholarship on the cult of Becket generally in later medieval England: to this end, evidence has been sought widely and Canterbury receives less attention than the reader might expect, although the essay turns to the cathedral priory at the end. [ABSTRACT FROM AUTHOR]

The Līḷācaritra , the first literary text in Marathi, is a prose biography of Cakradhar compiled by his followers in the last quarter of the thirteenth century. The close attention to place in the Līḷācaritra is key to understanding not only this text from long ago and far away but also the attachment to particular places in other highly mobile worlds, including our own. The Līḷācaritra follows Cakradhar's ascetic peregrinations, as well as journeys made by the many people who came to see him or attempted to return to his presence (his sannidhān). The text's attention to the details of Cakradhar's daily life, including the places he visited, is motivated by bhakti (devotional love). In order to soothe the pain they felt at his absence, the community of Cakradhar's followers practiced remembrance of the things he had said and done, and made pilgrimages to the places where he had stayed. [ABSTRACT FROM AUTHOR]

During the fifteenth century, the Saint Chapel in Paris became an architectural model for many French churches and a vector of the royal power by disseminating the devotion for the relics of Christ. The image of interior of the Saint Chapel had also a considerable influence on the compositional process of many miniatures, especially for the transmission of its musical attributes (the organ and the singers), and was integrated in the repertoire of the painters. The Saint Chapel became an imaginary model for the iconography of the interior of a chapel, adaptable to any sacred architecture, and particularly significant for the patrons who wanted to support the royal power. [ABSTRACT FROM AUTHOR]

St Leocadia, a fourth-century Toledan Christian virgin and patron saint of the city, miraculously emerged from a sepulchre in the presence of Ildephonsus, Archbishop of Toledo, and the Visigothic King Recesvintus, in the 7th century. After this wondrous event, in which a fragment of her veil was cut as proof of her public visitation, her body was removed from Toledo to be preserved from the Muslim conquest, taken to Flanders and eventually repatriated to her home town at the request of Philip II as the Lutheran threat to the Spanish northern territories escalated. A wave of literature and images concerning her figure was produced in the wake of three events: the return of her relics to Toledo in 1587, those of Ildephonsus in 1596 and the inauguration of the chapel of Our Lady of the Tabernacle, also in Toledo, in 1616. The following essays consider why and how this virgin saint became instrumental in cementing the alliance of Church and Monarchy as well as buttressing the Archbishop of Toledo's status as Primate of Spain in the early seventeenth century. Focusing on the historical, visual and literary portraits of Leocadia, they examine the manner in which Early Modern Spanish authors—Miguel Hernández, Lope de Vega, José de Valdivielso and Pedro Calderón de la Barca—and artists—Francisco Merino, Blas de Prado, Juan Pantoja de la Cruz, Antonio de Lanchares and Pedro Orrente—imagined and recreated the narrative of her sanctity paying particular attention to the function of public witness as effected by their works as well as by their readers and viewers. [ABSTRACT FROM AUTHOR]

The rich hagiographical corpus, charters and privileges of the monastery of Werden on the Ruhr allow unparalleled access to its ninth-century history. This article focuses upon three ninth-century vitae of its founding saint which delineate both the transformations which Werden underwent in the course of the century and the ways in which the monastery attempted to respond and adapt to these changes. In so doing, it illuminates the role that saintly relics and hagiography could play in the formation of Christian communities both within and beyond cloister walls. [ABSTRACT FROM AUTHOR]

Copyright of Studia Histórica: Historia Moderna is the property of Ediciones Universidad de Salamanca 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.)