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

The article offers information on the Seminar "Architecture and Liturgical Space," held in the first semester of 2022 at Brotéria, aiming to revive the important issue within the Church's life, in collaboration with the CEHR. Topics include a historical and liturgical perspective on architecture for liturgy, exploring the transformation of liturgical spaces in Catholic tradition, and the theological significance of liturgical action as an expression of faith.

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

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

The article discusses the significance of the "alleluia" chant in the liturgy of the Mass, focusing on its role and function. Topics include the historical development of the "alleluia" chant, its use in the Liturgy of the Word, and the unique features of the alleluia, such as the melisma. The article draws upon the work of scholars Karlheinz Schlager and James McKinnon to provide a comprehensive view of the history and aesthetics of the genre.

In the 21st century, the Christian liturgical space is immersed in a new process of inculturation. Post-conciliar suggestions have not produced a significant change in architectural proposals, although some artistic initiatives, such as the work of Rupnik, have triggered a deep reflection on the aesthetic and theological meaning of the arts involved in the temple. A methodological approach is proposed to reformulate the liturgical space as a symbolically expectant space. The expectant space, taken as a category, implies that the presence of the Incarnate Mystery is explicitly manifested through the architecture and art that covers it, propitiating and accompanying the encounter in the context of the celebration of the Liturgy. [ABSTRACT FROM AUTHOR]

An editorial is presented which discusses about liturgical music and architecture. It further discusses about music and architecture themselves share in a essential relationship that serves practical as well as theological purposes; construction of sacred buildings, the shape construction of altars and safety of the Eucharistic tabernacle, and the dignity and suitability of the baptistery; and music, particularly Gregorian chant, articulates the actions of the liturgy.

The article focuses on the Soundscapes of Byzantium, a collaborative effort across the world aimed at seeking to investigate the liturgical spaces of Byzantine through the scientific analysis of acoustics. The role of sound in the experience of the medieval worshipper and the association of chant, acoustics and architecture are explored. The mystagogical interpretation of worship as attested as early as late antiquity is also tackled.

The article examines the role of liturgical beauty particularly church architecture and music in pulling people closer to Christ, both in worship and mission. Topics covered include reasons for the importance of good liturgical art to mission, principles of liturgical art as understood by the Orthodox Church and ways of improving liturgical art.

Pentecostalism is perhaps best known for its charismatic worship and preaching, which are part of the reason for its continued growth and influence. Sunday services are often an experience of lights, music, multimedia, and inspiring preaching. Such a service is not out of place in a culture that has the highest expectation when it comes to entertainment and media. However, in this pursuit of excellence, we also create the potential for divisions akin to these seen in the Corinthian Christian community. This paper explores modern Pentecostal liturgy, and especially preaching, in light of Paul's mini testimony in 1 Cor. 2.1-5. [ABSTRACT FROM AUTHOR]

The article discusses the association of public liturgy with the ecclesiastical architectural style of post-Reformation Scottish Reformed churches in Prince Edward Island. Topics discussed include the architectural and liturgical customs in Scotland from 1560 to 1860, the liturgical changes of several Scottish Presbyterian churches from 1860 to 1900, and the contributions of the Scots' immigration in Prince Edward Island to the built heritage of the island.

Highlights: [•] Acoustical measurements were made in the cathedral, according to its liturgical uses. [•] The various parts of the cathedral have different acoustic characteristics. [•] Relationship between architectural, liturgical and aural spaces has been studied. [•] Acoustics of the spaces meet the aural needs of the participants in the liturgy. [•] The choir in Toledo Cathedral has excellent acoustic characteristics. [Copyright &y& Elsevier]

The Minstrels' Gallery of Exeter cathedral has received attention in almost every major account of the church's fabric, but has never been taken as a subject in its own right. This paper seeks to review and assess existing interpretations of the gallery's construction and purpose, along with those of the nave's north entrance with which the gallery's history is inextricably linked. In addition to evaluating existing scholarship, this paper will also propose three further theses: first, that the gallery was inserted into a finished nave bay, probably in the 1350s or 1360s, which already contained a north porch built entirely by the mason Thomas of Witney on the foundations of its Romanesque predecessor; secondly, that its function was to offer an inexpensive alternative to the singing-gallery which was planned but not built in the image-screen on the cathedral's west front; and, thirdly, that the role of the gallery and the north entrance to the nave in the Palm Sunday liturgy has influenced the iconography of the nave and gallery. This paper seeks to gather together the wealth of interest which the gallery has attracted over the last two centuries and to contribute to this exceptional history of scholarship. [ABSTRACT FROM AUTHOR]

In the Cistercian female monastery of Las Huelgas (Burgos), the exceptionally well-preserved monastic complex is a fine example of the religious topography customary in the Cistercian Order, directly inherited from the Benedictines. In contrast to this, the legend of the Castilian monarchy's association with the monastery has produced studies which highlight the close relationship between architecture and royalty. Thus, traces have been sought of the palace upon which Alfonso VIII allegedly founded the monastery in the late twelfth century; the royal palace at the entrance, documented from the thirteenth century; and the chapels that may have been the scene of the king's investiture. This article reviews these oft-repeated theories, relating the topography of the entire site to the logical and habitual areas of a Cistercian monastery, such as the infirmary, the abbatial palace, a chapel in the cemetery, and the guests' chapel. [ABSTRACT FROM PUBLISHER]

Ecclesiology was embraced by Episcopalians in antebellum Mississippi under the leadership of Bishop William M. Green beginning in 1850. The architectural arrangement proposed by ecclesiologists, a physical demonstration of High Church principles, defined the social refinement of the planter class in Mississippi. The Chapel of the Cross (1850-1852) in Mannsdale was the first building constructed in Mississippi that followed an ethos established by High Churchmanship. The structure required a sizeable nave with a central aisle and a distinct and spacious chancel, both constructed in the Gothic style with only the necessary adornments. The arrangement of Episcopal church design in Mississippi originated in the sketches of Frank Wills, the primary architect of the New York Ecclesiological Society. As an Englishman and an Anglican, Wills was celebrated for spreading ecclesiology in the United States and Canada during the period of growth in the Episcopal Church prior to the Civil War. Ecclesiologists believed that the implementation of the Book of Common Prayer required an ecclesiologically "correct" house of worship. The Chapel of the Cross fulfilled the theological requirements of the Anglican prayer book while meeting the expectations of taste for affluent parishioners and established a precedent for ecclesiology in the region. [ABSTRACT FROM AUTHOR]

Although not attested by written sources, the archaeological data clearly indicate that the Christian settlement on the island of Kedreai gained importance in the 5th century AD, when Christianity gained importance in Karia. Even though representing an important Byzantine settlement including a harbour, storage buildings, baths, churches, houses and cisterns, Kedreai does not appear in the bishopric lists. Kedreai has been known for a long time by published materials which give general information about the remains. While the first detailed study by Ruggieri lists the remains of only three churches, a recent investigation of the island in 2008 has revealed five churches and a baptisterium. Four of these churches are situated outside the Hellenistic city walls which surrounds the island. Of the two intraurban churches, one occupies of the site of the sanctuary of Apollon; the second one is located on the northwestern part of the island. Three of the five known churches on the island are basilical and the other two are single nave planned. Due to lacking inscriptions or written documents mentioning the names and dates of these churches, they are named according to their sizes, locations and plans. The three basilical planned churches demonstrate features not only of the Karian but also of the Aegean and Mediterranean region with their architectural, liturgical and decorative elements. Observing the plan typologies, it is possible to date these churches to the 5th and 6th centuries. The second building group on the Island is the single naved halls. Since this building type existed throughout Late Antiquity and was common in the Middle and Late Byzantine period, a reliable dating of the buildings faces serious problems. Since the masonry does not yield data for the dating, other findings belonging to the structures need to be examined to support this data. The baptistery belongs to the same period as the basilical structures according to the location and function of the building, and this idea is supported by the glass lamps found in the remains. Due to lack of architectural and other materials found during the survey, no exact date is suggested for the single naved Isthmus Church of the Island. To appreciate the importance of Kedreai in late antique and byzantine history, future excavations would be desirable. [ABSTRACT FROM AUTHOR]

During investigations we held in Muğla, Bodrum and Milas Museums, architectural sculpture with liturgical function, which are covered by geometrical compositions, were observed. These works of art, which are decorated with compositions consisting of various geometrical and floral designs, reveal some resemblances in terms of design and style. Arcade series which have been observed since the 9 th century on architraves, plates, piers and column capitals; geometrical designs with squares, circles and equilateral quadrangles which are connected to each other with knots and cavities and are created with drillers, form the special Byzantine compositions of the Middle Byzantine period. On the other hand, palmettes of various styles and rosettes filling in the geometrical forms are used in every century but concave leaf applications in these designs is a common application of Middle Byzantine period. The chronology is corroborated by safely dated objects from the coastal and inland Aegean as well as from the Lycian region. The pieces we have examined here are the reflections of the limitless arrangement of art in the Middle Byzantine Period of the Karian region. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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 paper explores reasons for the formation of Christian liturgical architecture before the 20th century. Although a large variety of historical examples hinders the exact definition of paradigmatic models, each historical period reflects specific theoretical premises which show the guiding principle of spatial formation. The paper also analyzes ways in which Christian liturgical space was influenced by adoption of theological and liturgical concepts and the meaning of the liturgical buildings in their original historical urban context. [ABSTRACT FROM AUTHOR]

An essay is presented on the revitalization of inherited worship and congregation spaces for better liturgical theology and practices. It explores that people have various creative ways to bring to life theologies and practices and online virtual community worship is one of them. However, it adds that risks of virtual communication should not be underestimated. It also notes that authenticity is significant in embracing the liturgical history of congregation.

This article focuses on a single question, the issue of whether new temporary spaces for large liturgical gatherings respond to a typological development of the space for worship or, conversely, to the loss of the identity of sacred architecture. Taking as our basis the assumption that the development of architecture is truly meaningful when it responds to programmatic factors, we analyse outdoor worship spaces, introducing the paradigms of centrifugal space and centripetal space, and look at the relationship between liturgy and nature understood as a landscape, before concluding by upholding liturgical symbolism as a means of controlling new formalisations of sacred space. [ABSTRACT FROM AUTHOR]

The 1938 Regulation Plan of Zagreb represents a fusion of the symbolic and hierarchic with the functionalist planning concept which is strongly marked by church buildings. Each of them had an important role in the urban design. Although the plan was not executed, constructed churches illustrate the change of historical significance of sacral buildings which in the subsequent, indistinct urban planning framework lost dominance in the configuration of the city. [ABSTRACT FROM AUTHOR]

The article focuses on how Gillespie, Kidd & Coia, an architectural firm, has taken advantage of working on churches which is considered a more pressing post-war building task as the relationship between architecture and liturgy should be emphasized. The firm was responsible for a series of Roman Catholic churches in Scotland which was considered the finest body of post-war church building in Britain. This work has drawn attention from architectural historians due to its rich and humane interpretation of sacred architecture.

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

Focuses on the twelfth-century tympana at the Western facade of Chartres Cathedrals in France. Significance of liturgical arts; Entrance of the bishop as described by liturgical commentators; Feasts with introit tropes; Christ-to-come in the northern tympanum; Time of grace in the southern tympanum; Second Coming in the central tympanum; Representations of Christ.

The mid-sixteenth century location of the doge's throne and the seating for the Signoria in S. Marco, Venice, were considerably different from the original arrangements of the twelfth century. The date of the changes and the motives that prompted them have never been clarified. An examination of Marin Sanudo's Diaries provides not only the date of the changes in practice but also suggests the initial and hitherto unsuspected impetus: the infirmity of Doge Andrea Gritti. This article utilizes Sanudo's contemporary accounts to shed light on architectural changes in the chancel of S. Marco in the 1530s. [ABSTRACT FROM AUTHOR]

Square chapter rooms divided internally by four piers into nine bays are recognized here as centrally planned. The type seems to have been introduced in the mid-twelfth century, and to have predominated among the reform orders. A newly excavated chapter room of the nine-bay type at the Augustinian abbey of Saint-Jean-des-Vignes in Soissons provides evidence of centralized decoration, as well as a central plan. The abbey's unpublished customary permits the analysis of rituals that exploited this central focus. [ABSTRACT FROM AUTHOR]

The small chambers symmetrically flanking the main apse of the early fifth-century church of San Giovanni Evangelista in Ravenna, built under the patronage of the empress Galla Placidia of the Theodosian dynasty, are architecturally designed to function as libraries and possibly scriptoria. Contrary to true pastophoria, as they are often called, they are not intimately connected with the performance of the eucharistic liturgy. They follow the Roman architectural tradition of libraries as twin structures (one for Greek works and one for Latin), symmetrically arranged around an exedra/apse or open room for reading and debate, and supplied with numerous rectangular niches for manuscript storage. Furthermore, archeological evidence supports the presence of a hypocaust in the northern chamber, a necessary provision in marshy Ravenna to keep the humidity out of the walls in order to better preserve the manuscripts. [ABSTRACT FROM AUTHOR]

An essay is presented on liturgical art, architecture, and artifacts of processional-monstrances, which are unique to Spain. It states that these monstrances were designed in the streets of Spanish cities to transport the Sacred Host, so that the transubstantiated "Corpus Christi," of Catholic dogma would be liked by worshippers. Research on this subject is said to open new perspectives into the historical meanings on the development of perspective during early Renaissance.

A correction is presented to the article "The Spatial Dimension of Liturgy: Historical and Contemporary Accounts of Communio-Space in Europe's Latin Rite Liturgical Architecture" which appeared in the 2017 issue.