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"Inventing Late Antique Reliquaries" by Adrien Palladino is a well-presented and well-written book that offers a valuable analysis of late antique reliquaries. The book explores the historiography and methodologies in art-historical analysis, focusing on the social reception, agency, and devotional attitudes towards these objects. Palladino emphasizes the significance of reliquaries in preserving and materializing collective or individual memory. The book includes case studies of various reliquaries, such as the Brescia Casket and a wooden casket from Palestine, providing insights into their origins, symbolism, and cultural contexts. Overall, this study enhances our understanding of the importance and cultural significance of relics in early Christianity and the early medieval period. [Extracted from the article]

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The book "Santi in posa. L'influsso della fotografia sull'immaginario religioso" analyzes the impact of photography on the worship of saints and its dissemination. The chapters of the book explore how photography has transformed hagiographic worship since the mid-19th century, being quickly accepted by the ecclesiastical hierarchy as a tool for devotional extension. Photography became a relic that acquired a sacred and miraculous dimension, and its use was standardized as a primary way of relating to the sacred. This pioneering book invites us to open new fields of analysis on the use of modern elements in the extension of devotions. The article "Riti, culti e santi" written by César Rina Simón from the University of Extremadura, is found in the journal MEMORIA Y CIVILIZACIÓN. The author provides a brief review of the work of the same name, which was published in 2017. The article consists of three pages and can be accessed through a provided link. [Extracted from the article]

In this context, the author considers the visual interconnections between reliquary tabernacles and architectural façades, their relationship with larger-scale panel paintings, and the ways in which reliquary tabernacles artfully imitated sculpture and metalwork. The Sienese reliquary tabernacles under discussion incorporated several diminutive relics, which were orderly placed inside circular niches carved in the wood of the frame (or within the margins of the painted panels). This study provides a focused examination of a group of reliquary tabernacles - painted panels of relatively small dimensions, with relics embedded in their surface - produced by Sienese artists between the second quarter of the 14th century and the middle of the 15th century. [Extracted from the article]

The reader will find tantalizing connections between what is presented here and in other sources for the study of Maya mythology, such as the colonial-era Chilam Balam books of Yucatán, and the various versions of the I Popol Vuh i from the Quiché Maya tradition in Guatemala. Boremanse describes a culture in which the men from each family group constructed their own temples at a short distance from their residences and supplied their own incense burners and their sanctifying relics. Boremanse's recordings, transcriptions, and translations of Northern Lacandon traditions allow the reader to enter a worldview that has largely ceased to exist, and the poignant photographs from that period enhance that experience. [Extracted from the article]

Elizabeth Errington Charles Masson and the Buddhist Sites of Afghanistan: Explorations, Excavations, Collections 1832- 1835, 2017, 247 pp., £ 40, The British Museum, London In this ground-breaking volume, Elizabeth Errington, with the help of a group of dedicated collaborators who include Piers Baker, Kirstin Leighton-Boyce, and Wannaporn Rienjang, has been able to assemble and publish many of the finds gathered in south-east Afghanistan by Charles Masson between 1833 and 1838, which today are kept in the British Museum. The success of this volume is the result of many years of research and what can only be described as a herculean effort on Errington's part to make sense of the vast assemblage of material that Charles Masson collected. More importantly, because Masson catalogued the associated reliquaries, beads, and other finds so carefully, Errington is able to present these objects within a clear chronological and regional framework grounded in the numismatic tradition. [Extracted from the article]

The author presents a literary analysis of a medieval Latin poem. He discusses the references to specific persons related to the monastery at Clonard, Ireland, the relation to the Picts of Scotland, and a possible interpretation of the poem as a request for the return of saints' relics.

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.)

One of many technical appendices provides a useful single-text edition of the Latin text of the I Descriptio i with an English translation. 978 1 78327 388 1 This dense monograph offers a reexamination of the dating and manuscript tradition of the I Description of the Lateran Church i ( I Descriptio Lateranensis Ecclesiae i ), a well-known Latin tract dating from the decades around 1100. The anonymous author of the I Descriptio i was clearly interested in promoting the Lateran Church as a legitimate heir to Solomon's temple. [Extracted from the article]

A critique is presented of the Old English poem "De situ Dunelmi," or "Durham," focusing on the linguistic and historical evidence for dating the poem to after the Norman Conquest of England. Old English spelling, Norman historian Symeon of Durham's reference to the poem in his work, and the history of the cathedral in Durham, England are discussed, as well as references to the moving of the remains of Saint Cuthbert in 1104 and word play in the poem.