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Among many Annunciation scenes represented in panel painting in Little Poland - which is especially abundant in iconographie motifs “describing” the mystery of the Incarnation - is a panel of the polyptych (1485) in St. Andrew’s Church in Olkusz. The polyptych was painted in fulfilment of a request by Anna Sperhozowa of Olkusz, before her death. It is the work of Jan Wielki, a nephew of the late founder of the church. When Jan was battered by Jan Waligora, and it seemed he would not survive, the work was completed by Jan Stary. A brother of Jan Wielki’s wife Katarzyna - Jan Wolny, bachelor of arts, subsequently St. Panthaleo’s altarist in Our Lady’s Church in Krakow and altarist of the Most Holy Virgin Mary in Olkusz - arranged all the legal formalities for the recognition of the altarpiece as the Family Worship Altar in St. Andrew’s Church1. It is therefore rather certain that the ideological aspect of the altarpiece was provided by a theologian with a personal interest in this particular work of art.

Największe i najstarsze karmelitańskie sanktuarium św. Józefa zostało ufundowane w nieistniejącym kościele św. Michała Archanioła i św. Józefa, powstałym na Podzamczu w Krakowie. Klasztor został zbudowany w latach 1611- 1637. w obrębie murów obronnych miasta, za aprobatą biskupa Piotra Tylickiego i przy wsparciu dobroczyńców. W dniu 26 października 1636 roku biskup krakowski Jakub Zadzik, konsekrował kościół i ołtarz główny pod wezwaniem św. Michała Archanioła i św. Józefa oblubieńca Najświętszej j Matki Bożej.

La localización de una reproducción fotográfica del diseño original del monumento de Semana Santa de la catedral de Oviedo (en paradero desconocido desde 1924) nos permite trazar la historia de este desaparecido altar de perspectiva y bastidores pintados. Concebido por el pintor madrileño Francisco Ortega Delgado en 1732 y consagrado en 1740, fue destruido en 1903. La investigación desvela otros datos desconocidos, como la participación del pintor madrileño Juan Delgado en 1731 y el diseño de un altar gótico en 1903 para reemplazarlo.

The article introduces a marble bust of the Mithras deity, which was found in 2010 in a pit of the 2nd — 3rd centuries AD during excavations at the “R-25” sector in the Upper city of Olbia. Based on the iconography of the sculpture, side and frontal holes, with remnants of rust from the iron rods intended for fastening, it should be assumed that it could have been a part of Mithras Tauroctone sculpture, which is slaying the bull. Such sculptural image of Mithras was found for the first time in the Northern Black Sea region, and has analogies in the sanctuaries of the European and Asia Minor provinces of the Roman Empire. At this time the cult of Mithras became widespread among the Roman army, in particular in the Danube provinces, from where, as part of Roman vexillations, it came to the antique centers of the Northern Black Sea area. His veneration in Olbia is confirmed by the finds of four marble votive relief slabs pieces. On the same sector, in the Roman layer, marble statues fragments, architectural details, an altar, and the lower part of a marble relief depicting a horse’s or a bull’s leg were found, which may be the parts of this sculpture, since they are made of the same kind of marble. In the Northern Black Sea region finds of votive slabs, sculptural images of Mithras, and Latin inscriptions dedicated to this deity mark the points of deployment of the Roman troops. The published marble bust may have come from the mithraeum — a sanctuary associated with the cult of Mithras, which appears in Olbia as a result of a stay of the Roman garrison in the city in the second half of the 2nd — first half of the 3rd centuries AD. Since all finds related to the cult of Mithras in Olbia were found on the territory of the citadel, the presence of mithraeum should be assumed in the Upper city.

This work presents the results of the in situ, non-invasive diagnostic investigations performed on the canvas oil painting depicting Madonna and Child, venerated as ‘Maria Santissima delle Grazie’ by the local religious community. The work of art (72 cm × 175 cm) is located on the high altar of the main Church in Mirabella Imbáccari, near Catania (Sicily, Italy). The painter is anonymous, and the supposed dating is the late eighteenth century. Although the painting has never been studied before, it has been attributed to a Sicilian workshop in the literature, raising the doubts of the art historian who conducted this study and who hypothesized a Neapolitan manufacture. Furthermore, due to the good conservation state detected by a macroscopic examination, doubts also arose about dating. To shed light on these aspects, a technical-scientific examination proved necessary. Multispectral imaging techniques (IR Reflectography, UV-induced visible Fluorescence, X-ray) are carried out for the study of the execution technique, the identification of underlying remakes, sketch drawing and the evaluation of the conservation conditions. XRF spectrometry analysis is performed for the identification of the chemical elements constituting the pigments (inorganic chromophores). The diagnostic results allowed this research to confirm the dating suggested by the historical-stylistic knowledge and to highlight new technical peculiarities supporting the attribution to a Neapolitan workshop.

El peregrino francés Étienne Boret peregrinó a Compostela en 1749 y 1761. De su primera peregrinación se conserva su compostela, dos impresos sueltos con las listas de las reliquias de la catedral, así como un inédito y espléndido grabado de la capilla mayor dibujada por Miguel Varela. En este último se representa la escenografía barroca del recinto en tiempos del arzobispo Miguel Herrero Esgueva. Se trata del aparato construido entre las décadas de 1650 y 1670, siendo canónigo fabriquero José de Vega y Verdugo, para la presentación de la imagen medieval de Santiago in cathedra del altar mayor objeto del abrazo de los peregrinos; del Santiago Peregrino y los cuatro reyes españoles rindiéndole homenaje sobre el camarín; así como del Santiago Matamoros atacando cuatro sarracenos en el baldaquino. No obstante, el grabado documenta interesantes cambios posteriores, particularmente la platería añadida al altar, al camarín y a la estatua sedente del Apóstol, financiada por el arzobispo fray Antonio de Monroy (1685-1715) para enriquecer el escenario, siguiendo los postulados de la Contrarreforma. [gl] O peregrino francés Étienne Boret fixo dúas peregrinacións a Compostela a primeira en 1749 e a segunda 1761. Proba da primeira é a súa compostela, dous impresos soltos coas listas das reliquias da catedral, así como un gravado inédito e espléndido da capela maior debuxada por Miguel Varela. Neste último represéntase a escenografía barroca do recinto en tempos do arcebispo Miguel Herrero Esgueva, e inclue elementos como a mesa do altar; o camarín coa imaxe medieval de Santiago en cathedra obxecto da aperta dos peregrinos; o Santiago Peregrino e os catro reis españois rendéndolle homenaxe; así como o baldaquino co Santiago Matamoruos atacando a catro sarracenos. Trátase do aparello para a presentación das tres esculturas xacobeas construído entre os anos 1650 e 1670, sendo cóengo fabriqueiro José de Vega y Verdugo. Non obstante, o gravado tamén documenta cambios posteriores interesantes, en particular a prata engadida á mesa do altar, ao camarín e á estatua sedente do Apóstolo, financiada polo arcebispo fray Antonio de Monroy (1685-1715) para enriquecer o escenario, seguindo os postulados da Contrarreforma.

Among the common ways of portraying Reformation divides are the following categories: Magisterial vs Radical Reformations; or a “church type” vs a “sect type” of reform. This essay offers an alternative view. It underscores the differences between Lutherans and Anglicans on one side; and the Reformed, Anabaptists, and Schwenckfelders on the other. The Lutherans, like the Anglicans under Henry VIII, worshipped in altar-centered churches which were Roman Catholic in appearance. They presented themselves as reformers of Catholic errors of the late Middle Ages. By contrast, when the Reformed, Anabaptists, and Schwenckfelders met for worship, it was in unadorned Bible-centered meeting houses. The Anabaptists were targeted for martyrdom by the decree of the Holy Roman Empire of 1529 against Wiedertäufer (“rebaptists”). Contrary to the later memory that they practiced a theology of martyrdom, the preference of apprehended Anabaptists was to recant.

This article examines the place of the Gospel reading and the Creed in Danish liturgy. In the first centuries after the Reformation, the Gospel was sung from the altar followed by the Creed, normally a Danish hymn. The Gospel was read once more from the pulpit before the sermon. In the 19th century, the Gospel was often only read from the pulpit in connection with the sermon and the Creed gradually disappeared. At the end of the 19th century, a new lectionary was introduced with two years and two different Gospel readings: the first from the altar, the second from the pulpit as the text for the sermon. In the middle of the 20th century, the Creed was reinstated after the Gospel from the altar, but now as the Apostles’ Creed. In 1992, the Danish Church got a new Service Book with three biblical readings: Old Testament, Epistle and Gospel. Here the Gospel is normally read from the pulpit and the Apostles’ Creed read or sung from the altar after the Epistle.

espanolEn los primeros testimonios documentales de las catedrales espanolas se constata la participacion de grupos de ninos en la organizacion interna y en el culto. De la misma manera, sus actuaciones iban mas alla del servicio en las misas, participando igualmente en la liturgia y paraliturgia del coro, donde la musica tenia una importancia capital. No obstante, a partir del siglo xv, los cambios introducidos en la musica que se interpretaba en estos centros religiosos obligaron a la progresiva profesionalizacion de estos ninos cantores, dando lugar a un grupo de mozos de coro o seises, cuya mision principal fue la de interpretar la primera y segunda voz de la musica polifonica. En este trabajo damos a conocer el desarrollo y los protagonistas de este grupo de cantores en la sede accitana en los siglos xvi-xvii, analizando la catedral como un espacio de aprendizaje y promocion; ya que muchos de ellos provenian de estratos sociales marginados. EnglishIn the first documentary testimonies of the Spanish cathedrals, the participation of groups of children in the internal organization and in the cult is verified. In the same way, his performances went beyond the service at masses, also participating in the liturgy of the choir and altar, where music was of capital importance. However, from the 15th century, the changes introduced in the music that was performed in these religious centers forced the progressive professionalization of these singing children, giving rise to a group of choir boys or “seises”, whose main mission was to interpret the first and second voices of polyphonic music. In this work, we present the development and protagonists of this group of singers in the Accitan headquarters in the 16th-17th centuries, analyzing the cathedral as a space for training and promotion for many of them, since it came from marginalized social strata

espanolSe ha venido defendiendo la identidad de Labbo como una divinidad de caracter local con culto restringido al territorio del Cabeco das Fraguas, donde hasta ahora se documentaba la unica inscripcion, que planteaba algunas dudas de lectura Laebo / Labbo. Presentamos aqui un ara votiva de Plasencia que demuestra con total seguridad la existencia de esta divinidad lusitana y la extension de su culto hacia zonas mas orientales del territorio lusitano. Su integracion en una triada de deidades nos lleva a comparar ambos textos y considerar en Cabeco das Fraguas dos series de nombres: seis de animales, por un lado, y seis de divinidades, por otro. EnglishThe identity of Labbo has been defended as a local divinity, whose worship was restricted to the territory of Cabeco das Fraguas, the location of the only inscription documenting the name (variously read as Laebo or Labbo) that had been identified so far. We present here a votive altar from Plasencia that demonstrates with total certainty the existence of this Lusitanian divinity and the extension of its cult towards more eastern areas of the Lusitanian territory. Its integration into a triad of deities leads us to compare both texts and to consider two series of names in Cabeco das Fraguas: six of animals, on the one hand, and six of divinities, on the other.

espanolEl Monasterio de Santa Maria de Piedra fue fundado en 1195. Como la mayoria de las abadias cistercienses masculinas de la Corona de Aragon, perdio casi todo su patrimonio artistico en el s. XIX. Aunque la informacion actualmente disponible es incompleta, se tienen datos suficientes como para afirmar que tuvo dos coros, uno de monjes y otro de hermanos legos conversos, ambos con silleria de madera. Respecto a la organologia, en el altar relicario donde se veneraba la Santa Duda de Cimballa, pintado en 1390, estan representados ocho angeles musicos cuyos instrumentos permiten hacerse una idea del enriquecimiento de la liturgia que se interpretaba en Piedra. En 1496 consta que Pascual de Mallen construyo un organo de grandes dimensiones. Del repertorio musical solo conocemos la prosa de un Hosanna gracias al epigrafe que figura en el nimbo de uno de los angeles musicos, los datos recogidos en la Consueta del s. XV de la Biblioteca Nacional, y un antifonario usado en noviembre, compuesto por Fernando Linan en 1597, que se conserva en el Monasterio de San Pedro de Cardena. Se propone el estudio del coro y la liturgia musical del Monasterio de Piedra entre los s. XII y XVI. EnglishThe Monastery of Santa Maria de Piedra was founded in 1195. Like most of the male Cistercian abbeys of the Crown of Aragon, it lost almost all of its artistic heritage in the 19th century. Although the information currently available is incomplete, there is enough to affirm that it had two choirs, one of monks and the other of converted brothers, both with wooden stalls. Regarding organology, in the reliquary altar piece where the Holy Doubt of Cimballa was venerated, painted in 1390, eight musician angels are represented, whose instruments allow an idea of the enrichment of the liturgy that was interpreted in Piedra. In 1496 it is recorded that Pascual de Mallen built a large organ. Of the musical repertoire, we only know the prose of a Hosanna, thanks to the epigraph that appears in the nimbus of one of the musical angels, the information collected in the Consueta of the 15th century, a manuscript preserved in the National Library, and an Antiphonary used in November, composed by Fernando Linan in 1597, which is kept in the Monastery of San Pedro de Cardena. The study of the choir and the musical liturgy of the Piedra Monastery between the 12th and 16th centuries is proposed.

This article examines the iconography of a type of Caracalla tetradrachm that has been newly attributed to Neapolis in Roman Palestine and whose reverse depicts a monumental altar decorated with statues of Tyche, Ephesian Artemis, and Kore Persephone. The study contextualizes these deities in the religious life of Neapolis and identifies the monument as an altar often depicted as a miniscule element in panoramic views of Mount Gerizim on the bronze coins of Neapolis. The tetradrachms provide, for the first time, a close-up view of this long-lost civic monument.

A large, gilded painting of the Virgin of the Antigua (Figure 1) stands out amidst a nineteenth-century altar in Lima’s cathedral. Generally believed to be a copy sent from Seville to Lima in 1544,...

The new Church of the Third Order of St. Francis of Elvas started being built in the early 18th century had important works of artistic enrichment in its internal areas, particularly in the 30s and in the 40s of the 18th century, which can be handled in this study, namely the altarpieces of the main chapel and the side chapels of Nossa Senhora da Conceicao and Senhor da Penitencia . Besides these items the works of wooden sculpture of "Joao Baptista genoves" and a set of altar canons executed in Rome by Giovanni Paolo Zappati will also be analyzed in this approach.

Мақалада қазақтың ас беру дәстүрі мен тас мүсіннің ерте замандарда бір ғұрыптық шара болғандығы қарастырылып жан-жақты дәлелденеді. Тас мүсін тұрған жерлердің қазақтың ас берген «ошақ» орындарымен қатар келуі екі ғұрыптың бастауы бір екендігін көрсетеді. Далалық зерттеу барысында Қарағанды облысының Ақтоғай ауданы жерінде анықталған «Орманбет ошағы», «Ербекей ошағы», «Шегетай ошағы» орындары және осы алқапта орналасқан тас мүсіндер дәлелге келтіріледі. Мақалада экспедициялық жұмыстардың нәтижесі және ас беру барысында орын алатын салт-дәстүрлер және көне ғұрыптар сөз болады.Тас мүсіннің бойындағы «ыдыс», «аяқ-табақ» секілді дүниелер осы көне ас беру ғұрпымен байланысты туындағаны және т.б. жайттар қарастырылады. Ас беру ғұрпының қоғамдық ролі, тарихи-саяси маңызы анықталады. Мақалада қазақпен қатар қырғыз халқындағы ас беру дәстүрі қоса сипатталады. Библиографические ссылки 1. Ақжолтай Ағыбай батыр. Жезқазған: Облтипография, 1992. 180 б. 2. Аманбаев Зияда. Әулет аралық естелік. Естелік-шежіре. 1-бөлім. Балқаш: Қалалық баспахана, 2001. 160-бет. 3. Әбішев Х. Аспан сыры. Алматы: Қазақ мем-тік саяси әдебиет баспасы, 1962. 251 б. 4. Броневский С.Б. Записки генерал-майора Броневского о киргиз-кайсаках Средней орды // Отечественные записки. 1830. Ч. 43. № 124. С. 119–356. 5. Валиханов Ч.Ч. Следы шаманства у киргизов // Собрание сочинений в пяти томах. Т. 4. Алма-Ата: Гл. Ред. Каз. Сов. Энцикл., 1985. 463 с. 6. Венюков М.И. Путешествие по окраинам русской Азии и записки о них. СПб: Типография Императорской Академии наук, 1868. 528 с. 7. Грач А.Д. Древнетюркские изваяния Тувы. М.: Изд-во вост. лит., 1961. 96 с. 8. Дневные записки путешествия капитана Н. Рычкова в Киргис-кайсацкой степи 1771 году. СПб.: Типография Императорской Академии наук, 1772. 105 с. 9. Досымбаева А. Западный Тюркский каганат. Культурное наследие казахских степей. Алматы: Типография Комплекс, 2006. 168 с. 10. Ермоленко Л.Н. Средневековые каменные изваяния Казахстанских степей (типология, семантика в аспекте военной идеологии и традиционного мировоззрения). Новосибирск: Изд-во ИАЭт СО РАН, 2004. 132 с. 11. Зеланд Л.Н. Киргизы (этнологический очерк) // Записки Западно-сибирского отдела РГО. 1885. Кн. 7, вып. 2. С. 1–78. 12. Кастанье И.А. Древности Киргизской степи и Оренбургского края // Труды ОУАК. 1910. Вып. 22. 332 с. 13. Кастанье И.А. Надгробная сооружения киргизских степей // Труды ОУАК. 1911. Вып. 26. 102 с. 14. Киргиз-кайсаки Большой, Средней и Малой орды по записям Андреева, с дополнениями П.К. Фролова и издателя // Сибирский вестник. 1820. Ч. IX–XI. 183 с. 15. Конур-Аулие // Витебская Губернская Ведомости. 1892. № 63. 16. Кызласов Л.Р. О назначении древнетюркских каменных изваяний, изображающих людей // СА. 1964. № 2. С. 27–39. 17. Құрманқұлов Ж., Ермоленко Л. Ежелгі Сарыарқа тас мүсіндер (каз., орыс, ағыл. тілд.). Қарағанды: «Credos Ltd C», 2014. 168 б. 18. Левшин А.И. Описание киргиз-казачьих, или киргиз-кайсацких орд и степей. Ч. 3: Этнографические известия. СПб.: Типография Карла Края, 1832. 304 с. 19. Манас: Великий поход. Кыргызский эпос / Пер. С. Липкина и др. Бишкек: Шам, 2004. 404 с. 20. Марғұлан Ә.Х. Ежелгі жыр, аңыздар: Ғылыми-зерттеу мақалалар. Алматы: «Жазушы», 1985. 368 б. 21. Марғұлан Ә. Ұлытау төңірегіндегі тас мүсіндер // Ә.Х. Марғұлан шығармалары. Алматы: «Алатау», 2007. IV т. 221–274-бб. 22. Народы России. Киргизы: [этнографические очерки]. СПб.: «Досуг и дело», 1880. 58 с. 23. Радлов В.В. Из Сибири (страницы дневника) / Пер. с нем. К.Д. Цивиной и В.Е. Чистовой. Прим. и послесл. С.И. Вайнштейна. М.: Наука, 1989. 749 с. 24. Руденко С.И. Культура населения Горного Алтая в скифское время. М.-Л: Изд-во АН СССР, 1953. 402 с. 25. Смағұлов Е.М. Қазақтың ас беру дәстүрі: қоғамдық-әлеуметтік қызметі (XVIII–XIX ғғ. деректер бойынша): тарих ғыл. канд. ... дис. автореф. Алматы, 2005. 33 б. 26. Тұрсын Жұртбай. Құнанбай (Жәбір сұлтаны) // Абай әлемі (ұлы ойшылдың өмірі мен шығармашылығына арналған онлайн-эниклопедия). URL: https: // abaialemi.kz /post/ view?id=910 27. Халид Құрбанғали. Қазақта мәйіт шығару // Тауарих хамса: (Бес тарих). ауд. Б. Төтенаев, А. Жолдасов. Алматы: «Қазақстан», 1992. 304 б. 28. Чорманов М. Казахские народные обычаи. Караганда: «Арко», 2000. 104 с. 29. Шарипов С. Бағаналы елінің жайы // Шығармалар жинағы. ІІ т. Алматы: «Жазушы», 1982. 508 б. 30. Шер Я.А. Каменные изваяния Семиречья. М.–Л.: Наука, 1966. 141 с. 31. Шомбал-Кукашев Р. О символике старинного казахского поминального ритуала «түйе шешу» // Қазақтың әдет-ғұрыптары мен салт-дәстүрлері: өткендегісі және бүгіні. Алматы: Ғылым, 2001. С. 351–373.

The interpretive history of Revelation is overrun with descriptions of Jesus as a sacrificial lamb. Yet, John never uses the popular phrase to describe him. By drawing attention to four significant omissions in the text, I argue against atonement readings of “the Lamb” in Revelation. Revelation is not a theological treatise on the meaning of the cross. It feeds questions about power and violence and admonishes the seven churches against participation in their imperial context. John’s slaughtered lamb, therefore, does not evoke a paschal sacrifice; it points to Rome’s penchant for violence. Joining the other bloodied bodies in Revelation, the lamb’s blood further incriminates Rome. Everywhere one looks in John’s depiction of empire, violence lurks. Finally, the only altar in Revelation is the heavenly altar, and this altar is not a place for sacrifice. The heavenly altar is a place where the laments of the suffering are heard, a place for worshipping God, and a place where Rome will meet its judgment. John’s Jesus is not a self-sacrificing spiritual savior; he bears witness to the bloodthirsty, massacre-loving beast-of-all-beasts. Churches must choose their allegiance.

The article presents the results of studying inscribed and dated objects of applied art of the 16th–17th century from the State Russian Museum in St. Petersburg. The subject of the research is the set of church plates from the monasteries of the Dormition of Our Lady and the Presentation of the Virgin in the Temple in Tikhvin and the precious tsata from the Tikhvin icon of the Mother of God (Stockholmskaya) from the Tikhvin Cathedral of the Transfiguration. In 1928, the items were given to the State Russian Museum from the department of ecclesiastical property of the State Museum fund. The majority of these items were made in the Moscow workshops. The study provided an opportunity to identify the items fabricated by Tikhvin silversmiths. The authors analyze the iconography, style, structural and technical features of a number of art works including liturgical vessels, a church lamp and several altar Gospels. The study substantiates new attributions of the chalice and the church lamp from the Cathedral of Dormition of Our Lady. Attention is given to the inscriptions on the items. The authors examine the specifics of the forms of inscriptions and cite new data on the donors such as Ivan Nikitich Romanov, Ivan Ivanovich Shuiskii and the Mikhalkov family.

espanolEn este articulo se estudia la espiritualidad eucaristica de Agustin, que contenida principalmente en su predicacion, en su catequesis durante el tiempo de Pascua. Analiza como el obispo de Hipona explica a los neofitos la transformacion del pan y el vino en el Cuerpo y la Sangre de Cristo. Ademas, considera la disposicion espiritual necesaria para la recepcion de la Santa Cena, y sus efectos en la vida de aquellos que comparten dignamente el Banquete Sagrado. Por ultimo, el articulo explora el vinculo que Agustin establece entre Eucaristia e Iglesia, con vistas a mostrar la importancia de la Unidad entre los que se acercan al altar del Senor. EnglishThis article studies Augustine's Eucharistic Spirituality as it emerges from primarily from his preaching, in his catechesis during the Easter Season. It investigates how the bishop of Hippo explains the transformation that makes bread and wine into the Body and Blood of Christ to the neophytes. It further considers the spiritual disposition necessary for the reception of the sacrament and its effects in the life of those who worthily share in the Sacred Banquet. Finally, the article explores the link Augustine establishes between the Eucharist and the Church to demonstrate the importance of Unity among those who approach the altar of the Lord.

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 ev...

Studying the wood of art objects such as sculptures, panel paintings and furniture can be crucial to elucidate their chronology and production centre. Here we present an approach that considers the prove- nance of the wood and its potential availability in different areas as a means to identify the provenance of wooden art objects. We illustrate this approach with an interdisciplinary study aimed to determine the date and provenance of the Woman with lantern , a carved altar fragment from the Rijksmuseum’s collections (Amsterdam, The Netherlands). The origin of this object is undocumented, but based on stylistic and iconographic features its provenance was proposed to be the altarpiece of Rennes cathedral (France), carved in Antwerp (Belgium) around 1520 C.E.. However, doubts arose when curators tested the potential fit of the sculpture in that altarpiece and could not find a neat match. Dating and provenancing the wood of the sculpture by standard dendrochronological means failed to produce a date, and comparison of the tree-ring pattern from the sculpture with those of the sculptures from Rennes altarpiece delivered no results either, supporting the suspicion that the Woman with lantern belonged elsewhere. In 2019, X-ray computed tomography (CT) provided digital cross-sections throughout the sculpture and a longer tree-ring series was obtained. This time, the outermost ring was dated to the year 1487 C.E.. The tree was estimated to have been cut after 1495 C.E., indicating a likely production in the first quarter of the 16th century. The origin of the timber in the eastern Netherlands/northwest Germany, combined with empirical evidence about timber availability in various regions of the Low Countries at that time, suggests that the sculpture was made in a workshop located north of the Rhine in the (current) Netherlands, rather than Antwerp. This research has led to the hypothesis that workshops north and south of the Rhine river branches in the Low Countries were supplied by forests located in different areas. If proven correct, establishing the wood provenance will assist in determining the origin of Netherlandish works of art from the late-Gothic and Northern Renaissance periods.

The article attempts to document that the separation of the tabernacle from the altar ordered in the post-Conciliar documents has a specific impact on architecture and sacred art. This concerns post-conciliar liturgical conditions, which are the source of architectural conditions and the way of liturgical arrangement of the interior in the second half of the 20th century. The article, taking into account contemporary architecture clearly, without analyzing the historic renovated interiors, emphasizes the search for modernist methods of building liturgical interiors that have the right to use the modern language of mystical expression. It is proved that the post-Conciliar methods of using contemporary aesthetics bring specific solutions for the existence of liturgical art responsible for the construction of the church interior from the altar, which is the center of the sacred space. Therefore, in addition to the tabernacle, it is the pulpit, sedilia, baptismal font, and paintings and other cult objects that find their place in the space responsible for the clear approximation of the faithful zone to the altar zone, whose highest element, visible to all, is the sacrifice table.

The article is dedicated to the iconostasis of the Assumption Cathedral in Okhtyrka (1738). The iconostasis was installed at the expense of O. Lesevytsky (a colonel of Okhtyrka regiment and a brigadier of Sloboda regiments). The icons were painted by Kharkiv icon painter V. Dmitriev. While painting he was working in Kiev‑Pechersk Laura. The iconostasis of the Assumption Cathedral became an example of an innovative decision of altar partitions not only in Slobozhanshchyna, but also in the whole of Ukraine. The altar partitions reflected the stylistic innovations relevant for the first half of the 18th century – a combination of Rococo and Classicism. The iconostasis of 1738 demonstrates that the spread of these styles in Slobozhanshchyna took place much earlier than in Central and Western Ukraine, and the sacred art of Slobozhanshchyna regiments had its own path of development. The iconostasis of the Assumption Cathedral became the first altar partition, which broke with traditional for Ukraine and, in particular, for Slobozhanshchyna, stylistic and iconographic decisions of altar partitions. It can be considered the first altar partition, which opens a new era in the history of Ukrainian iconostasis. A new solution for iconostasis in Slobozhanshchyna was the introduction of the metric type in the construction of tiers (the rhythmic type was traditionally used before that), the elimination of the Deisus tier, which was replaced by a large-format Holiday tier. The iconostasis also shows internal influences. Thus, the Sovereign tier of the iconostasis presented images of Christ, the Birth‑Giver of God and saints, depicted in full length, which was widespread in Kyiv and had not previously been typical in Slobozhanshchyna (traditionally the Sovereign (bottom) tier of the iconostasis in Slobozhanshchyna consisted of half‑length images). A new solution of the Sovereign tier of the iconostasis was probably proposed by V. Dmitriev, who could transfer part of Kyiv icon-painting tradition to Slobozhanshchyna.

Dá-se a conhecer um manuscrito inédito que relata as circunstâncias de achamento duma ara a Bormanicus. Tecem-se considerações acerca da presença do vocábulo fabrica em textos epigráficos e a propósito da representação da ascia, que se identifica com um instrumento concreto: a enxó do tanoeiro. Apresenta-se uma panorâmica do uso epigráfico do vocábulo arula.AbstractAn inedited notice about the finding of a Roman altar dedicated to Bormanicus is given. Is discussed the evidence of the word fabrica in Roman epigraphic monuments and also about ascia, here identified with a concrete instrument: the cooper’s adze. Finally, what we can say about the word arula in Roman epigraphic monuments and classic texts.

The article constitutes a semiotic analysis of items (materials, tools, cult objects) used in Spycimierz (Łódź voievodship, Poddębice county, Uniejów commune) during Corpus Christi celebration. On the national level, the holiday is distinguished by exceedingly rich décor of the village, particularly two-kilometer long flower carpets laid alongside the entire Eucharistic procession route. The author applied the object-related code analysis for the ritual based on the semiophore theory by Krzysztof Pomian. Thus SEMIOPHORES are represented here as flower carpets, gates and altars – elements of the highest sacral value in procession and holy mass. They both emerge from and are created by OBJECTS – materials, tools, assisted by MEDIA – cameras and video cameras. After the procession a SEMIOPHORE desacralisation process occurs, during which they lose symbolic functions and high values they represent. Part of the materials is utilised for further usage next year when they become OBJECTS. The other part, described as WASTE, arrives finally in a composter and transforms into BODIES or soil, out of which flowers will grow the following year. Due to the fact that blossoms will form a flower carpet or decorate an altar, the aforementioned circulation of items can be referred to as “Spycimierz continuum”. Artykuł stanowi semiotyczną analizę przedmiotów (materiałów, narzędzi, przedmiotów kultu) wykorzystanych w Spycimierzu (województwo łódzkie, powiat Poddębice, gmina Uniejów) podczas święta Bożego Ciała. Wieś ta wyróżnia się nadzwyczaj bogatym wystrojem, a szczególnie kwietnymi dywanami 2-kilometrowej długości układanymi na całej trasie procesji eucharystycznej. Autorka do analizy obrzędowego kodu przedmiotowego zastosowała teorię semioforów Krzysztofa Pomiana. Semioforami według niej są dywany kwiatowe, bramy i ołtarze – przedmioty w najwyższym stopniu sakralne w czasie mszy świętej i procesji. Powstają one z i za pomocą rzeczy – materiałów, narzędzi, przy asyście mediów – aparatów i kamer. Po procesji następuje etap desakralizacji semioforów i wytracania przez nie symbolicznych funkcji oraz wysokich wartości. Część z materiałów użytych do stworzenia semioforów zostanie przechowana na następny rok stając się rzeczami, część jako odpady trafi na kompostowniki, zamieniając się w ciała – glebę, z której w kolejnym roku wyrosną kwiaty. Wobec tego, że kwiaty posłużą do ułożenia kwietnego dywanu czy ozdobienia ołtarza, opisany obieg przedmiotów można nazwać spycimierskim kontinuum.

Conceptualising an alternative to the Rieglian analyses of the correlation between power and composition in group portraiture, this article proposes a ritualistic approach to understanding the grou...

The Griffin Warrior Ring No. 2 is a gold Minoan-style engraved signet ring from Pylos dating to the Late Helladic IIA (1580–1490 BCE). The ring's bezel depicts a seascape with a columnar tree shrine flanked by palm trees situated on a rocky outcrop. Five elaborately dressed female figures stand on either side of the shrine. The tree shrine features a net pattern in the space between its stone or brick piers. I argue that this represents a fishing net and that the structure is a sea altar dedicated to an unnamed Minoan tree deity. The ring's hoop is decorated with cockleshells, further emphasizing its marine theme. I propose that the iconography alludes to marine food resources, practical and luxury textile fibers, sea trade, transculturality, and cult and is testament to the importance of the sea in the Aegean Bronze Age.

In recent years the Suzhou literatus Peng Dingqiu (1645-1719) has attracted scholarly attention as a figure embodying the rich diversity of elite religiosity in the early Qing dynasty Yangzi delta. The present article employs Peng Dingqiu’s previously neglected manuscript autobiography Shijiang gong nianpu to hone in on a prophecy he claimed to have received in 1674 of his two-fold optimus success in 1676. It provides detail on the social conventions of verification of spirit-altar communications and probes the challenges Peng Dingqiu’s solitary method of communicating posed to communal verification. Concurrently, the article establishes a baseline of historically plausible events and identifies the narrative elements most likely modified by Peng Dingqiu and his admirers after the achievement of the prophecy.

This article responds to J. Aaron Simmons’ concerns that James K.A. Smith’s methodology for confessional pentecostal philosophy prohibits philosophical dialogue with the confessional Other. Its responses specifically address Simmons’ proposed personal methodology and his two main concerns about Smith’s methodology: (1) confessional philosophy allows an encroachment of theology into philosophy that threatens the autonomy of philosophy; and (2) confessional philosophy discourages philosophical dialogue with the confessional Other, and promotes insularity and defensiveness by utilizing theologically determinate evidence that act as incommensurable authority structures. The first section of this paper exposits Simmons’ other works that illumine the reasons for his concern. Specifically, it identifies Simmons’ Thomistic view of reason and new phenomenology’s commitment to the hypothetical status of God-talk as the reasons for Simmons’ opposition to Smith’s confessional philosophical method. After clarifying Simmons’ own position, the second section addresses Simmons’ concerns that confessional philosophy promotes epistemic arrogance, defensiveness, and dialogical insularity. Moreover, it provides five responses to Simmons’ concern that confessional philosophy utilizes incommensurate authority structures and that it threatens philosophy’s autonomy through the incursion of theology. The paper concludes with a reflection on the current state and future of pentecostal philosophy

espanolEste articulo demuestra que las Revelaciones de santa Brigida fueron esenciales para la creacion de una nueva iconografia de la Virgen para el arte flamenco de las primeras decadas del siglo XV. El objetivo es analizar el amplio espectro de textos brigidinos que explican los elementos simbolicos de la pintura relacionados con la iconografia de la Virgen, con su representacion fisica y simbolica y los atributos, y con los dogmas marianos, especialmente aquellos de la Virginidad Perpetua, la Inmaculada Concepcion y la Asuncion. La pintura de la Virgen en la tabla de Altar de Gante es, en muchos aspectos, una nueva creacion, y revela como el simbolismo de los ultimos siglos del Medievo han dado paso a nuevas exigencias de la literatura mistica y devocional. El interes en el misticismo femenino dentro de los territorios de Flandes y Brabante se remonta a los inicios del siglo XIII, cuando se da el desarrollo de un nuevo movimiento religioso femenino. En este ambiente particularmente sensible a la palabra femenina, las obras de Brigida pueden tener la debida recepcion y su mariologia pudo inspirar la representacion de la Virgen del Poliptico de Gante. EnglishThis article demonstrates that the Revelations were essential for the creation of a new iconography of the Virgin for the Flemish art of the first decades of the 15th century. The aim is that to analyze the wide-range of Brigittine texts that explain the symbolic elements of the painting which are related to the iconography of the Virgin, to her physical and symbolic features and attributes, and to Marian dogmas, especially those of the Perpetual Virginity, the Immaculate Conception and the Assumption. The depiction of the Virgin in the Ghent Altarpiece is, in many respects, brand new and reveals how the symbolism of the last medieval centuries had given way to the new demands of devotional and mystical literature. The interest in female mysticism within the territories of Flanders and Brabant dates back to the beginning of the 13th century, when the development of a new female religious movement took place. In this environment particularly sensitive to the feminine word, the works of Bridget could find the right reception and her Mariology could inspire the representation of the Virgin of the Ghent Altarpiece.

The article touches the problem of the altar picture from parish church in Strzelce Opolskie whom author had been unknown for a present time. The author describes the painting, focus attention to unmentioned for today signature and confirm the authorship of Trycjusz by comparing the painting with others works of the artist. In the article, the patterns, probables founders, and meaning of Salus Populi Romani are shown. Moreover, the act of foundation explain the artistic relation between Strzelce Opolskie and Kingdom of Poland.

This paper uses evidence from a previously unresearched ecclesiastical textile associated with Archbishop John Morton (c1420−1500) to generate new insights into the material culture of the Roman Catholic faith before, during and after the penal period in England (c1558−1829). This composite textile was initially thought to be made up of fragments of a late 1400s cope bearing Morton’s rebus, reconfigured as an altar frontal, which had survived in the house of an important Roman Catholic family. The embroidered motifs include a unique Lily Crucifix. The textile’s complex biography is ‘unpicked’ using physical and textual evidence to understand its changing forms, roles and significance. Analysis of the material and construction, combined with evidence gained through X-radiography, showed the frontal to be composed of parts of a cope and at least one other vestment, with a now missing image of the Annunciation. Mapping the stages of fragmentation, removal and re-modelling demonstrates the transformation of significant mainstream vestments into other forms. The paper illuminates aspects of Morton’s faith and provides new insights into the practices of recusant Roman Catholics.

The presbytery of the basilica of the Monastery of San Lorenzo de El Escorial is closed on its eastern side by a monumental altarpiece that, apparently, is attached to the thick outer perimeter wall. However, at the height of the lower section and behind it, there is a vaulted space that has not yet been studied, and whose main interest is its function as a Transparente. This architectural device, a precursor of other solutions used later during the Baroque period, allows the rays of the rising sun to be introduced directly into the tabernacle and onto the high altar through a window positioned for this purpose. Our study deals with the succession of vaulted and lintelled spaces, arches and windows that make it possible to achieve such a singular effect, together with other aspects related to the perception of the whole, and to the geometry of light.

Monumental church construction began after the approval of the Vyatka diocese in 1657. Since the original decoration of the Vyatka altars is hardly preserved, the article mainly considers monuments of the nineteenth and early twentieth centuries. The authors aim to analyse the altar monumental painting of Vyatka churches of the nineteenth and early twentieth centuries which has not been done previously, revealing its special features, as well as the peculiarities of wall painting in general. The researchers analyse visual photographic, bibliographic, and historical archival documents collected as a result of many years of expeditions and studies. The methodology of the research involves the use of iconographic and stylistic analysis, as well as the application of the historical and cultural approach. The article considers features of local monumental painting, architectural and designing characteristics. It is demonstrated that most of the preserved altars with wall painting date back to the nineteenth and early twentieth centuries, apart from a few interiors of the eighteenth century. Additionally, the authors examine the issue of introducing the iconography of locally venerated saints into the programme of church painting. It is revealed that a substantial part of the paintings is made following the religious national style and according to the “examples” of the local Vyatka artist V. M. Vasnetov. Special attention is paid to important epigraphic resources, i.e. altars which have dates and authors’ signatures. The characteristic phenomenon for local wall painting is a tendency to freedom in dealing with examples and using various sources while fulfilling contracts. Referring to written data, the authors establish that the works were carried out by both local masters and those from elsewhere and reflected the financial condition of the parish. As a result of iconographic and stylistic analysis, it is found out that the decoration of the Vyatka altars was generally traditional and relied on the examples of the main churches of the capitals in terms of programme formation, as well as artistically and stylistically.

espanolLa narracion de la etiologia del altar de Jupiter Pistor (Ov. Fast. 6.349-394) asume el surgimiento de ese sitio cultual como retribucion al dios por ayudar a los romanos ante el asedio galo. Roma es presentada como vencida y la construccion de esta derrota se vincula estrechamente con el tratamiento del espacio a lo largo del relato. Asimismo, dicha configuracion espacial muestra una singular inclusion de escenarios epicos. Demostraremos que, al alejarse de los elementos y topicos propios de la epopeya y acercarse al ambito de la elegia, este relato ovidiano deja ver los mecanismos genericos del mismo poema. EnglishThe account of the shrine of Jupiter Pistor (Ov. Fast. 6.349-394) posits that this site was built in acknowledgment of the god’s help during the Gallic siege of Rome. Rome is presented as a defeated city and the construction of this defeat is closely linked with the treatment of space throughout the story. Moreover, such spatial arrangement shows a remarkable inclusion of epic stages. We intend to show that, by moving away from elements and topics that are characteristic of the epic genre and towards/into the genre of elegy, the account displays the genre procedures that make up the poem.

Most of the tabernacle altarpieces preserved throughout Europe are fragmented, overpainted, and reconstructed, thus impeding a closer analysis of their image program. A detailed study of the earliest fully preserved representatives of this altarpiece type originating from the Lower and Middle Rhine as well as some other little-known late medieval examples from this region will cast some light upon topics such as the construction and evolution of the form as well as the iconography and media used in its creation and its possible impact on the spectator. This study concentrates on a small group of almost completely preserved tabernacle altarpieces, which allows detailed observation of their all-around design. This enables an examination of the ensemble of sculpture and painting, the strategies of emphasizing the venerated sculpture as well as points of reference between the images on the interior and on the exterior. Another aspect of this survey addresses questions regarding the different ways an altar could be adjusted and displayed spatially (with the wings fully open or partially closed) and the perception of these objects, most of which are designed to be viewed from all sides - issues that have received little attention in the research on tabernacle-altarpieces so far. The results of this brief survey will also serve as groundwork for answering questions about the long durability of the tabernacle altarpieces alongside new forms such as winged altarpieces. La mayoría de los retablos-tabernáculo conservados por toda Europa presentan un carácter fragmentario o están repintados y reutilizados, lo que impide un análisis profundo de su programa iconográfico. Un estudio detallado de los ejemplares más antiguos conservados en su integridad procedentes del Bajo y Medio Rin, así como de algún ejemplo tardomedieval de esta región, arrojará algo de luz sobre asuntos tales como la construcción y evolución de sus formas, así como la iconografía y las técnicas empleadas en su creación y su posible impacto en el espectador. Este estudio se centra en un pequeño grupo de retablos-tabernáculo preservados casi por completo, lo que permite una observación detallada de todos los aspectos de su diseño. Esto posibilita un examen del conjunto de la escultura y de la pintura, de las estrategias desplegadas para resaltar la imagen de culto en su interior, así como de los puntos de conexión entre las imágenes en el interior y en el exterior. Otro aspecto de este estudio apunta a cuestiones relativas a los diferentes modos en que un altar puede adaptarse y mostrarse en un espacio (con los paneles laterales completamente abiertos o parcialmente cerrados) y a la percepción de estos artefactos, la mayoría de los cuales están diseñados para ser vistos desde todos sus lados -aspectos que hasta ahora han recibido escasa atención en los estudios sobre retablos-tabernáculos-. Los resultados de este breve estudio servirán también como trabajo preliminar para responder cuestiones acerca de la larga persistencia de los retablos-tabernáculo junto a nuevos tipos como los retablos con alas.

The aim of this research is to identify the typology of Tamil Hindu temples were used on the architectural design of Graha Katolik Annai Velangkanni. As for the results of the research are Graha Katolik Annai Velangkanni adopted a form of Dravidian Tamil Hindu typology Style located in South India, with a pyramid-shaped tower with a shrink over the stair steps. It has seven levels of the building that symbolizes perfection and seven heavens, as well as three dome that symbolizes to Holy Trinity. One of the uniqueness in adopting the form of the Hindu Tamil Temple is in the zone of the altar (2nd floor), there is the opening up penetrate to the rear Tower as a place to enter the light from above so that the space feels more sacred altar with its natural lighting from the top of the tower. This typology is drawn from the concept of typology building Hindu temples namely space garbaha griha who continuously to the tower roof of vemana. The adoption of the other elements is taken from the form of animals (Peacock) and plants (Lotus, kalpataru and banana trees) where the ornaments found in the temples of Shrie Mariamman is a person (God), animals (elephants, birds) and plants (Lotus)

The subject of this research is the processes that unfolded in the spiritual sphere of the Netherlandish society of the XV century, which can be assessed by the treatises of the prominent philosopher and figure of the Catholic Church Nicholas of Cusa (1401-1464), as well as by the images, scenes, artistic techniques used by Netherlandish artists of that time such brothers van Eyck, Rogier van Weyden, Hans Memling, Petrus Christus, Hieronymus Bosch, Robert Kampin, and others. Main attention is given to the comparison of the views of Nicholas of Cusa, as well as the manner and ideological program that can be seen in the work of the XV century artists. The scientific novelty consists in demonstration of just how the views of Nicholas of Cusa correlate to the worldview of the people of the XV century – transitional period from the Medieval Era to the Modern Age. Perceptions of the Netherlanders of that time of the world and people’s place within it, of divine predestination and everyday life are reflected in the orders for a new type of altar compositions and portraits. The conducted analysis uses specific examples to reveal the theme of commonness of the worldview in the examined chronological period. Comparison of the paintings and thoughts of Nicholas of Cusa demonstrate the commonness of views that reflect the transformational era in the history of art.

The Medieval Portable Altar Database is an open-access inventory of over 120 surviving medieval European portable altars and their attributes. I created the Database as a doctoral candidate in Hist...