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In the paper created within the framework of the scientific project “Corpus Inscriptionum Rossicarum”, examines two komplex of private acts drawn up in the second half of the 60s of the 16th century by a large Dvinsk landowner Alexej Amosov and boyar Alexej Fyodorovich Bas-manov with the mention of a special type of epigraphic monuments of Moscow Russia — wall synodics or memorial tables. These inscriptions, carved in wood or stone, as well as painted with paint, were placed in the sacred part of the temple, on the wall of the altar opposite the sacrifice. These epigaphic monuments were one of the forms of personal piety, and the right to place them was possessed by the сtitors and donators of the temple or monastery. By their request in the wall synodics records the names of the closest relatives and other people not related to the depositors by ties of kinship. The installation of these epigraphic monuments and their placement in the altar be-came a guarantee of eternal commemoration of the persons inscribed in them during the pros-komidia. The heyday of this type of epigraphic monuments falls on the second half of the 17th — second third of the 18th century, but the earlier period of their existence has not yet served as the subject of special scientific research. Based on the analyzed acts, the paper concludes that at the moment the mention of wall synodics in private acts of the second half of the 60s of the 16th century. They are the earliest evidence of the existence of a stable tradition of creating this type of inscriptions, compiled by order of the ctitors and donators.

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An altar to Mars dedicated by a soldier of legio XI Claudia is shown to have been removed from the fabric of Marton church during restoration work and, along with much of the other stone for the Romanesque tower, nave and chancel probably derived from the Roman small town of Segelocum , Littleborough on Trent. The name of the dedicator, G. IVLIVS ANTONINUS, is discussed in the context of legio XI Claudia deployment on the Lower Danube. [ABSTRACT FROM AUTHOR]

A unique mudbrick installation with a plastered double basin on its top was uncovered in the latest Iron I stratum (A2) at Tel Abel Beth Maacah (Tell Abil el-Qamh), a large site in the northern Hula Valley, Israel. The installation was discovered in a unit that was part of a large, elaborate public complex with an exceptional architectural plan, located in the centre of the site. The installation under discussion appears with other features that bear cultic associations, along with some that can be considered mundane. This article presents the context, focusing on the installation by itself and in tandem with the other features, with the goal of exploring the possible cultic function of this space and of the unit as a whole. [ABSTRACT FROM AUTHOR]

The article examines the names of Lithuanian stones regarded as sacred and the legends associated with them. Researchers estimate that there are approximately 500 such stones in Lithuania. Popular beliefs link many of these stones with pagan deities and Christian saints, attributing to them the abilities to move, speak, teach, heal, advise, lend money, and even form families and have children. Evidence of stone worship during pagan times is reflected in their names, which often reference both chthonic figures and Christian saints, and may also be associated with the names of animals and people. The article systematically analyses these cases, considering legends about the stones’ origins, relevant historical evidence, and archaeological and folklore data. Lithuanian legends regarding the naming of stones suggest that those now bearing Christian names may have originally had pagan ones. The “baptism” of some stones by bestowing Christian names upon them not only alters some of their properties but is also believed to stop their growth and movement. The analysis leads to the conclusion that the mythological perception of stones has evolved over time. Historical data indicate that in pagan antiquity, stones were identified with deities, serving simultaneously as altars and idols. With the advent of Christianity, the focus shifted, and stones that were once venerated began to be associated with figures from lower mythology, such as the devil, witches, and Laumės (woodland spirits). Folklore traditions classify stones as “otherworldly” objects, emphasizing their connection with the chthonic realm, the world of the dead, and the “unclean”.

Recent scholarship on the late medieval Pays de Vaud has allowed for a better understanding of the Reformation (1536) in this region, revealing it as a period marked not only by ruptures but also by significant adaptations and continuities. This article employs a trans-periodic approach to explore the material culture of the Eucharist, tracing its developments across the late medieval and Reformation periods. Key findings include the transition from stone altars to wooden communion tables, the contested continuity in the substance and shape of chalices, and the gradual shift from unleavened hosts to plain bread. These changes highlight a complex interplay of theological and practical concerns. The study provides a nuanced perspective on the Reformation in the Pays de Vaud, emphasizing the ongoing influence of medieval ecclesiastical reforms and the gradual nature of liturgical transformations. This analysis underscores the importance of material culture in understanding religious and cultural shifts during this pivotal period. [ABSTRACT FROM AUTHOR]

Different types of altars provide examples of architectural solutions regarding correct and effective design. The differences lie in the use of different stylistic treatments, colors and chiaroscuro. The interior of the church and the central feature in the form of an altar create an environment in which the faithful devote themselves to prayer. Both stylistic and color solutions can influence the level of prayer contemplation and concentration during mass and other services. The research included selected altars from churches in Lublin, Poland. Attention was paid to which elements in the photos attract the eye and determine observation and focus. This paper dicusses a series of studies on the best-designed architectural spaces that increase concentration during meditation and prayer. Moreover, it analyzes the existing interiors of churches along with altars and formulates conclusions regarding design guidelines for newly constructed buildings. [ABSTRACT FROM AUTHOR]

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The fires of the Jerusalem temple altar were said to be perpetual. Various writers from the fourth century BCE to the third century CE added explanations and perspectives to this practice: the argument that the fire came from heaven, that it continued even during the destruction of the temple, or that it remained lit only when the high priest was righteous. Though these texts are well known, they were never examined in a comparative context: how special were these practices and discourses in their Mediterranean and Persian contexts? Maintaining a perpetual fire on the altar or lamps was a known practice in Mediterranean sanctuaries. The discourses surrounding these fires, developed especially by Greek and Roman writers of the first century BCE and the first century CE, are in many ways similar to those in the Jewish texts. I will consider in detail the differences and similarities and their significance. [ABSTRACT FROM AUTHOR]

In this study, we survey six factors encouraging a eucharistic interpretation of Heb 13:9-10: (1) the broader context of Hebrews and its warning against idolatry; (2) the understanding of βεβαιοῦσθαι τὴν καρδίαν in 13:9 as literal nourishment; (3) the conceptualization of the table of the Lord's Supper as a θυσιαστήριον in early Christianity; (4) the similar triangulation in 1 Corinthians 10 of the Lord's Supper and the Levitical altar over against food associated with idols; (5) the story of the wilderness generation's craving for the foods of Egypt as background; and (6) the social function of the Lord's Supper as an instrument for addressing hunger in early Christianity. Considered collectively, these factors suggest that Heb 13:9-10 encourages looking to the Lord's Supper, and not idolatrous, pagan "foods," for nourishment. The passage highlights through a comparison with Levitical priests the reasons for doing so all the more. In these regards, Heb 13:9-10 recapitulates in brief form the a minore ad maius comparative argument featured at length throughout the speech. Thus, these considerations, in addition to encouraging a eucharistic interpretation of these verses, contribute to the thesis that Hebrews is concerned not with reversion to non-Christian Judaism but, rather, reversion to pagan, imperial culture. [ABSTRACT FROM AUTHOR]

No dia 13 junho de cada ano, a Igreja Católica celebra o dia de Santo Antônio de Pádua, um dos santos mais populares, venerado não somente em Pádua, onde foi construída uma basílica que acolhe os restos mortais dele, mas no mundo inteiro são estimadas pelos fiéis as imagens e estátuas que o representam com o lírio, símbolo da sua pureza, ou com o Menino Jesus nos braços, que lembram uma aparição milagrosa mencionada por algumas fontes literárias. Nosso artigo revela o processo de criação de altares domésticos para receber a imagem de Santo Antônio da trezena da matriarca da família e devota que realiza a reza em homenagem ao santo por mais de quarenta anos.

The "Iron Age and Hellenistic Age Tunceli Survey" project, which has been carried out within the provincial borders of Tunceli since 2016, aims to identify new settlements belonging to the Iron Age and Antiquity and to obtain new data on archaeological remains of which little information is known. As a result of the observation and documentation studies carried out within the scope of the 2021 season of the survey project, a new archaeological settlement named Masumu-Pak Fortress has been identified in the Tunceli region, and some archaeological features of the Aşağı (Lower) Doluca Fortress, which was brought to the archaeology literature before, have been examined. While the Iron Age traces are intense in Aşağı Doluca Fortress, Iron Age and Medieval structures are evident in Masumu-Pak Fortress. It has been determined that the structures considered as open-air temples in Masumu-Pak Fortress and Aşağı Doluca Fortress settlements have common features of form and construction. The main common aspect of the open-air worship areas in both settlements is the architectural elements that can be considered as an altar carved into the rocks with a platform in front of it. [ABSTRACT FROM AUTHOR]

Copyright of XVIIe Siècle is the property of Presses Universitaires de France 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.)

Sacred stone veneration is a global mythical phenomenon historically practiced by many groups, including ancient Semitic-speaking peoples. In their physical capacity, sacred stones themselves are not the object of worship or veneration. Their sanctity comes from the divine spirit believed to dwell within them. The common denominator among the mythological traditions of sacred stones veneration is the belief that they possess enormous spiritual powers that enable them to act as mediators between the worshipper and the gods. Stones were employed as tools in the rituals of veneration in many types of sanctuaries, such as stone circles. This study highlights this type of religious folklore in Palestine, representing one of the bridges linking the Palestinian present to its distant Canaanite past. It traces the various patterns of sacred stones in the central region of Palestine, the rituals that were practised using them, and the remnants of these practices found in oral folklore traditions. To these ends, the researchers relied on religious and historical primary and secondary sources, including oral interviews where available and possible. [ABSTRACT FROM AUTHOR]

The 19th century was a time when, as noted by Michael Thimann, there occurred a transition of painting from the sphere of worship to the space of art. The parting of the paths of art and the sacred sphere also affected a genre as important for connecting these spheres as altar painting. The present paper discusses Henryk Siemiradzki’s altar paintings, which constitute this outstanding academic artist’s attempts to place painting intended for worship in churches. Siemiradzki created several altar paintings: starting with a copy of Christ on the Cross by Johann Köler (1867), then his own version of this theme for the chapel of Our Lady of the Rosary in his hometown Kharkiv (1871), then Zmartwychwstanie [Resurrection] (1878) for the Church of All Saints in Grzybów in Warsaw, and above all large altarpieces: Chrystus uciszający burzę [Christ Calming the Storm] (1882) for the Evangelical church in Krakow and Wniebowstąpienie [The Ascension] (1891) for the Church of the Resurrectionists in Rome in via San Sebastianello. The paper is an attempt to reveal the relationship between the form, the content and the sacred function of these images. The analysis focuses primarily on Chrystus uciszający burzę [Christ Calming the Storm] and Wniebowstąpienie [The Ascension], in which the artist faced the canon of the altar painting genre in the most complete way. The iconography of these works, their connections with the centuries-old visual tradition of Christianity, and finally the semantics of the composition are analysed, looking for a theological understanding of the depicted events. It has been shown that the commissions discussed are in line with the format and function of the genre of altar painting, and at the same time they are the fruit of Siemiradzki’s profound reflection on the role of the sacred image in the liturgy, in the interior, and above all in the theological discourse that was supposed to affect the hearts, minds and souls of the faithful. It is emphasized that in the commissions undertaken, the artist was able to respond to the requirements of various confessions, by painting pictures that corresponded to the mission and expectations of a Catholic parish, a religious order or a Protestant community. Siemiradzki’s works are therefore presented as an example of an academic artist’s reflection and his search for solutions concerning the meaning of altar paintings in the multidimensional sacred space, as inscribed into the centuries-old dialogue between the sacred sphere and art within this genre.

Rome and the Vatican: In the era of the Republic, people used to hear voices there, so they gave the hill the name Vaticina, and this is the origin of the Vatican, and it all began in the gardens of Circus Nero at the base of the obelisk - which still exists today. Martyrs, as Emperor Caligula (37-41 AD) carried out matches and acts of violence against Christians, and thus cemeteries became on vast areas to bury the victims of execution and martyrdom in the centuries of persecutions of the first centuries. The first Christians dug graves for their sisters under the same ground on which they confessed their Christian faith. From that time onwards this spot became sacred and a destination for pilgrims. When the emperors abandoned it and left it barren, the Christians brought the remains of S. Paul, which were buried on the road to Ostia /Appia, known as Ostiense, as well as the remains of St.Peter, which his disciples had hidden for 24 years before burial in the cathedral that was built by Emperor Constantine in the Vatican (formerly Rome), as well as the martyrs of the first persecution .The Papal chapels have a special importance among the Christian chapels of different denominations, as they are in complete agreement with the Eastern Church in the practice of the seven ecclesiastical and liturgical sacraments, but they differ from them and are unique in beliefs such as: (Purgatory - Papal infallibility - Immaculate Conception - Theotokos Mother of God). Therefore, it becomes clear to us the importance of studying The chapels and altars of the main Papal Apostolic cathedrals in the Vatican, to complement the series of pilgrimage churches and cathedrals in the Christian world, and to know the importance of the chapels and altars of the main Papal Apostolic cathedrals in the Vatican.

Introduction The altar is a symbol of a holy place. The tradition of decorating altars, which is repeated as a stylistic form in the Islamic period, is related to the religious philosophical concept that emphasizes the concept of this holy place. Based on symbolism, the center is the supreme example of holiness and pure reality as all other symbols of pure reality (such as the tree of life, the fountain of youth, and so on.) are also located in the center. In this research, the concept of the decorative motifs of trees and vases in the altar is analyzed considering the sacredness of this place. The present analysis seeks to answer this question: what is the relationship between the symbols of water and plants represented in the altars of the Islamic period and their earlier visual patterns in the pre-Islamic art in Iran. Research Method This study is descriptive-analytical in terms of methodology. The data collection method is based on library review, and data analysis was done qualitatively. The principle of evolutionism is based on the fact that every cultural phenomenon should be considered the result of a long chain of changes along a time-space line. Research Findings The intellectual principles of evolutionary theory are based on a belief in an evolutionary line, a beginning, an end, and milestones that can be called moments of leap or fundamental change. In this approach, the shapes and their changes in the works were taken into consideration; it depicted how an art form spread on a territory or a historical aspect. This principle is noteworthy that some components of a certain culture and practices or customs may remain in the same culture for a long time after the transformation of other components. According to Taylor, two important laws about religion and culture exist. The first principle is the unity or the psychological sameness among human beings. The second principle is the pattern of human evolution or intellectual progress over time. The cultural and intellectual evolution of human and the basic homomorphism of the human mind are related to each other. The principles of evolutionism can be analyzed for the symbols of water and trees in Islamic altars. Persian myths have described the two symbolic elements of water and trees in the holy places and considered them to represent the center of the universe and the origin of life, respectively. In the verses of the Holy Quran, these symbolic trees are mentioned and described. The descriptions of the Tubi Tree, the Sidra al-Muntahi Tree, the olive tree along with the description of the paradises with flowing rivers show the place of these symbols in the holy book of the Quran. In these verses, the connection of faith, piety, and goodness with the symbols of water and the eternal tree is evident. In fact, these descriptions of the heavenly book in the form of an allegory, derived from the archetypes, are about the sacred tree and correspond to the evolutionary process of this symbol. The evolution of elements from the ancient texts (the pre-Islamic religious texts), i.e., the symbols of the tree and the water of life, can be seen in the text of the Qur'an, as the most recent religious text. They have found an evolutionary and allegorical form and are continuous with the element of goodness and salvation. In this evolutionary process, a change in the meaning of symbols of the tree of life and the water of life can be seen: that is, a change from eternal life and immortality in the material world to immortality in connection with faith in the metaphysical world. In fact, the symbols have become sublime. Conclusion On the basis of intertextuality, there is no text without a pre-text, and on the basis of the theory of evolution, it can be emphasized that in the field of sacred water and plants, the oldest art forms have been established and continued from the past. These components of Iranian culture have been continued in their original form or along with evolutionary changes in the arts of the Islamic period, especially in altars. The tree of life appears with a tree and plant motif, and the water of life is represented by the symbol of a jar or cup. Based on these documents and the first principle of evolutionism, a mental and religious pattern related to the sanctity of natural elements can be identified in the minds of Iranian people. With the religious transition that happened in Iran after Islam and the domination of monotheism and monotheism, the idea of praising one God and the mystical view of the world, as the signs of the Lord, created the ground for the use of natural symbols of water and trees in altars. This common feature of respect for nature in pre-Islamic Iran, which bore many similarities with ancient civilizations, is a form of human psychological unity in accordance with the first principle of evolutionism. In Iranian altars, the sacred tree is located in the center of the altar, and sometimes it is wrapped in the form of an abstract plant motif on the pillars of the altar. The pot or jar is also at the bottom of the tree or column or on top of it. While the divine verses, which are the sources of blessing and life-giving, are revealed on it. In fact, the jar is the medium of receiving grace from heaven. The evolved forms of plant elements have evolved. Arabesques and khatais replaced the leafy trees of the Sassanid period with systematic rotations, and the jars, at the top and bottom of the columns were sometimes decorated with plant motifs. And this course of semantic and formal evolution in the design of water and tree symbols in the altar is in accordance with the second principle of evolutionism, which means progress and evolution over time. Continuity of prayer at the altar and communication with the Almighty God, accompanied by the symbols of the tree and the jar, is reminiscent of heavenly descriptions of believers’ connection with the heavenly trees, flowing streams, and the cups filled with pure wine from the heavenly streams. [ABSTRACT FROM AUTHOR]

The image of the church as a pilgrimaging community under the sacramental authority of the bishop as the high priest of his flock (SC 41) is central to liturgy in which church buildings and altars are dedicated. This article sums up the reform of that part of the Roman Pontifical, which contains these rites. It also offers some liturgical and ecclesiological insights, which could be of interest in the context of the current worldwide synodal process in the Roman Catholic Church. An undoubtably positive result of the reform of these rites is the pneumatical effort which can be observed throughout the entire celebration. Much more important than the church building is the trinitarian focus on the church as People of God, Body of Christ and Temple of the Holy Spirit. [ABSTRACT FROM AUTHOR]

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In times when mystical thoughts were more widespread in society, we can see material evidence of mystical attitudes in addition to literary mystical texts that were written in abundance. Among this evidence are the inscriptions engraved on historical works and buildings. Among the most important platforms on which religious ideas and beliefs are depicted are altars and tombstones, which have the most to do with people's spiritual beliefs. In order to express mystical thoughts, the word "la" is written on these works in a special and impressive way, in most cases without any connection with the main inscription of the work. One of the reasons for this, besides the visual structure of this word, is its mystical meaning. The present study tries to answer the question why "on the inscriptions of most tombstones and altars of the Islamic Middle Ages the word "La" (no) is written, although it does not appear in the text of the verse or hadith? the prevailing assumption is that, according to the testimony of historical literary texts, this word is a mystical substitute for the monotheistic phrase "There is no god but God" and played a role in the past ages with the aim of representing mystical and monotheistic thought in the works that had the most spiritual connection with people

The altar sculpture of the Buddhist temple Tubten Shedrub Ling in Kyzyl has been studied. In 1992, His Holiness the Dalai Lama XIV pointed at and consecrated a site for a Buddhist temple in Tuva. Tubten Shedrub Ling, one of the largest Buddhist temples in Russia, was inaugurated in April 2023. The famous sculptor Dashi Namdakov made six monumental sculptures of Buddhist deities – Buddha Shakyamuni, Maitreya, White Tara, Green Tara, Kalachakra, and Vajrabhairava. The statues are made of modern composite material and covered with polychrome painting. The master created incredibly expressive cult images characterized by an organic fusion of the art traditions of Tibet, Nepal, Mongolia, Buryatia, and modern innovations. The study was performed using methods of stylistic, iconological and comparative analysis.

Abordamos a continuación el estudio de cuatro piezas que hoy se encuentran depositadas en tres distintos lugares (Museo Arqueológico de Córdoba y colecciones privadas) pero que con seguridad formaron parte, en su día, de un único altar del periodo augusteo-tiberiano en la Córdoba romana. Se ha realizado un análisis detallado de sus características, tanto de estilo como de técnica, y se han desechado otras posibles funciones (en concreto la de pedestal) para otorgarle una función de altar; para facilitar al lector la comprensión de sus características se ha realizado un modelo donde se han encajado los cuatro fragmentos. Su riqueza temática, características de labra, estilo y dimensiones, así como los paralelos localizados, avalan una importación desde la capital del imperio en la primera mitad del siglo I de nuestra era, al igual que otras piezas conocidas en la ciudad. Este altar estaría elaborado en diversas piezas que se montarían in situ y que estimamos formarían parte de la decoración de uno de los recintos monumentales de la que fue capital de la Prouincia Baetica, con toda probabilidad el teatro habida cuenta de la vinculación estrecha entre la temática dionisíaca con dicho edificio. La restitución virtual del altar demuestra que se trataría de un tipo muy peculiar para esta clase de elementos sin paralelos exactos conocidos hasta el momento. Con todo ello, la capital de la provincia Baetica reafirma para esta época un comercio directo de piezas de extraordinaria calidad destinadas a embellecer los recintos oficiales de la ciudad en un momento en que la capital del imperio comenzó a exportar piezas muy representativas del arte augusteo con un marcado carácter neoático, presente en los fragmentos aquí analizados.

Myndos, one of the Carian cities, is located within the borders of the province of Muğla, district of Bodrum, township of Gümüşlük today. Situated just across the ancient city, Asar / Tavşan Island is in a very important location to safeguard the city's port. Some of the building remnants unearthed as a result of the research on the island are dated to the Classical Period and later. The clearing at the entrance of Asar Island and some architectural finds support the idea that there was a propylon(?) at the entrance. In addition, a stylobate, which is thought to belong to the "U" / "Π" formed altar structure, was found on the upper terraces of the island. Thanks to the excavations conducted in that area, an inscription, which was understood to be dedicated to Apollon Archegetes, points out the existence of a cult area belonging to Apollon on the island. Within the scope of the study, some architectural suggestions were presented about possible structures by comparing the altar and propylon (?) structures with similar examples. [ABSTRACT FROM AUTHOR]

This article theorises how home altars can support healing, individuation and personal transformation. It is informed by theory pertaining to Jungian sandplay therapy and Donald Winnicott's ideas about transitional space and the holding environment. The methodology is grounded in a critical reflexive autobiographical approach that illustrates how altarplay can support the practitioner when negotiating a difficult shift from Christian to postchristian space. [ABSTRACT FROM AUTHOR]

The current Code of Canon Law of the Latin Church does not renounce to keep alive the idea that the loca sacra are characterized by profound peculiarities, which impose a particular reverence in those who use and visit them. There are several passages of the Code that confirm this attention to the relationship with the otherworldly reality that distinguishes the loca sacra. This persistent theology of hieraticity connected to the locum sacrum - to be combined, obviously, with the idea of the sacred place as a space for the accompaniment and reception of the “living stones” that make up the community - defines the perimeter of the use of this type of place, which is structured on their functionality for the exercise and promotion of worship, piety and religion. At the same time, this theology imposes very precise codes of behavior on those who use or visit sacred places, always requiring the due reverence and respect due to their peculiarities. [ABSTRACT FROM AUTHOR]

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En la cultura mexicana, el concepto de muerte que tienen las personas proviene de su cultura milenaria, y el Día de Muertos es el portador de este rasgo cultural. En este festi - val, ellos se encuentran solemnes e ingeniosos, y este fes - tival religioso está lleno de tal ambiente festivo. El concepto mexicano de la muerte y la exhibición de retratos de los muertos son una característica importante de este festival. El dios de la muerte es un personaje omnipresente en el arte mexicano, donde las culturas indígenas ven la muerte con una dialéctica dualista, es decir, la vida y la muerte son interdependientes. Por lo tanto, donde hay vida, hay mensaje de muerte. Y los signos y símbolos representados por la muerte son omnipresentes en su sociedad actual. Para la comprensión conceptual de la muerte, el sacrificio de altar del Día de Muertos es la encarnación de esta cul - tura. El Festival Qingming en China también llevará a cabo sacrificios. La gente recuerda a sus antepasados a través de sacrificios. Los sacrificios de estos dos festivales tienen similitudes y grandes diferencias. En este artículo se comparan principalmente las diferencias de las características del sacrificio entre los dos festivales.

This article explores a particular strategy of naming gods within ancient polytheistic societies, namely when an object joins an onomastic sequence to build a god’s theonym itself. We will discuss the case of the Zeus of Antiochene, where in four different places of worship the gods share this same naming strategy: the name of Zeus never appears as one element alone, but always in an onomastic sequence associating his name with a second noun, not an adjective as is more common. These nouns belong to the same semantic field, namely objects/places of worship, two in particular referring to a Zeus Altar, in the forms Madbachos and Bômos. These objects could indicate a modality/space in which the divine power presentified by it is exerted, as for the divine image; a comparison with other similar cases suggests that the presentification of the god himself is actualized by means of the altar itself in space.

Some manuscripts of the 11th and 12th centuries preserved in Catalonia present a specific rite when a bishop had to consecrate a church. In the altar he placed relics, three fragments of hosts, three grains of incense and small parchments on which was written the information about the consecration, the ten commandments and the beginning of the four gospels. The Catalan consecration ritual corresponded to a specific liturgical codification, the Catalan-Narbonne ordo, which is generally accepted to have been strictly followed. However, archaeological excavations carried out in pre-Romanesque and Romanesque churches in Catalonia since the 19th century have often brought to light a practice that was not codified in these texts: the modest containers of wood, stone or alabaster that contained the consecration relics had been engraved with names. This paper is dedicated to these nominal inscriptions from the consecration ritual, found inside the altars.

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino 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 purpose of the work is to show the difference and interdependence between the schemes of paintings of the dome and the altar of the Orthodox Church and their purpose as the most sacred spaces. The research methodology consists in the application of a number of approaches. The analytical method is used to comprehend the literature on the topic of the article; the interdisciplinary method helps to comprehensively study the factual material and obtain new knowledge; and the systemic approach with a whole range of methods (semiotic, culturological, iconographic, field (namely, collection of visual material), hermeneutic, descriptive, comparative, and theoretical generalisation). The scientific novelty of the study is that for the first time the dome and the altar of the Orthodox Church are considered as identically sacred parts of it and at the same time as the most sacred temple spaces, which is reflected in the schemes of their paintings. Conclusions. In the inner space of the Orthodox Church, religious ideas about the ‘upper’ and ‘lower’ world, about the sacred and profane space are concretised with the help of architecture and sacred images recorded in the monumental church painting. In the temple, which is sacred in its purpose, however, there are differences in the expression of holiness. These differences from the point of view of the cultural approach can be marked by the binary opposition "sanctus – sacer". Thus, both the domed and the altar space of the Orthodox Church reflect the main church dogmas and doctrinal truths, which emphasises their sacredness in the sense of sanctus. At the same time, the painting of the sacred space of the dome reflects the Orthodox teachings open to every Christian, while the painting of the altar emphasises that this place of service of the "initiates" is available only to priests, performers of church rites, mainly the Eucharist. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Archaeological Museum in Zagreb / Vjesnik Arheološkog Muzeja u Zagrebu is the property of Archaeological Museum in Zagreb 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 first part of this contribution contains the results of the field surveys made in recent years for the ancient road network around Fethiye, including the routes between Pinara, Telmessos, Kalynda, Kadyanda, Araxa and Tlos. According to these results, there are two options for the road between Pinara and Telmessos, one through Kabaağaç and Gökben, one over Babadağ. In the article, the second option is suggested for the road recorded in Monumentum Patarense (MP). While the road between Tlos and Telmessos is preliminary expected to have passed through today’s Seydikemer, the field surveys concluded a better option which suggests a course through Çaltıözü, Bozyer ve Esenköy crossing over an ancient bridge, only a footing-base of which survived, in today’s Allıkavak. It is understood that the ancient route between Telmessos and Kalynda mostly follows the modern road between Fethiye and Dalaman, and the localizations of İnlice/Daidala and Şerefler/Kalynda are rediscussed. It is observed that the road between Kadyanda and Telmessos lead through Eldirek as a better option, and that the road between Kadyanda and Araxa passed over the ancient bridge in Atlıdere. The route from Kadyanda to Tlos also passed over the same bridge and reached Tlos following a course leading by Kıncılar, Girmeler and Güneşli. Similarly, the road between Araxa and Tlos followed the same route to the south of Atlıdere Bridge. In the second part of the contribution two new Lycian inscriptions are published. One is found in Asarcık (ancient Aloanda) located ca. 7,5 km to the north of Pinara, and the other one is on the road between Kadyanda and Araxa. The inscription from Aloanda reflects a religious and funerary content. It cannot entirely be understood what kind of monument this was, due to the missing half of the inscribed stone. The inscription made contributions concerning vocabulary and morphology to the study of Lycian language. It is opened up for a discussion that the finding place of the inscription might have been a religious location, because there is no funerary remains from the Lycian period in the spot. Therefore, it is difficult to suggest that inscription is associated with a funerary character, if there was no a rock cut tomb or a sarchophagus from earlier period in the finding spot, though there are several funerary monuments such as a sarcophagus and rock cut tombs of later period nearby. The second inscription examined in the article has a usual content of rock cut tombs, the examples of which are quite prevalent in Lycia. Unfortunately, it cannot be understood whom the tomb belonged to, due to the natural erosion of the inscription surface. Conjecturally it is suggested that name of the owner might be Armazapimi. It is possible to read that the owner built the tomb for himself, his wife, his household and for those who were descendants of his mother. Besides the regulations for burials, the inscription ends with a closure stating that anyone, who violate the burial regulations, shall be considered criminal against several institutions of Lycia and the gods.

Antique architectural elements are used by the church-builder of the Middle Ages as building materials in Saint-André’s Church of Saint-Just-Saint-Rambert (Loire) for increase the prestige and the antiquity of the Saint-Rambert priory. Many of this spolia come from funeral monuments who could perhaps be linked with the villa of Saint-Côme, the most meridional of the Segusiave’s city, of which archaeological remains have been discovered 600 meters distance of Saint-André’s Church.

This paper presents six dedicatory inscriptions from Knidos; these inscriptions provide information on the religious spectrum of Knidos and also the commercial buildings of the city during the late Classical and Hellenistic Periods. The inscriptions are dedications of statues to Hermes (nos. 1 and 2) and to Zeus Meilikhios (nos. 5 and 6), dedication of a sundial to Asklepios (no. 3) and the dedication of a monumental altar to Zeus Agoraios (no. 4). The inscriptions also provide epigraphical evidence of the emporion of Knidos (no. 1) and the building called Kallippeion (no. 2). [ABSTRACT FROM AUTHOR]

Greek altars have received ample attention in scholarship as to their appearance, construction, and location within a sanctuary, as well as their importance as the central feature for the rituals allowing communication with the gods. The immediate surroundings of altars have not been considered to the same degree. This paper explores the context of Greek altars and some of the features located here, for example, rings for fastening animals, stone-lined pits, and remains of previous sacrifices. Of particular interest is the use of the top of the altar for ritual purposes in relation to the space surrounding the altar. A study of the wider contexts of altars, as to their use and the material remains found here, may provide a better understanding of the complex ritual reality of the ancient Greeks. [ABSTRACT FROM AUTHOR]

In the renewal of visual culture in Romanesque times, liturgical furniture played a fundamental role, with the altar being the most privileged figurative space, as a fundamental cultic object for the configuration of the new ritual spaces. With this work we propose a review of some of the main Romanesque altars in the region (Santiago de Compostela, Oviedo, San Esteban de Ribas de Sil, etc.) in order to analyse the value of the images they reproduce in relation to the new vectors of Romanesque culture. [ABSTRACT FROM AUTHOR]

Copyright of Sacrum et Decorum is the property of Wydawnictwo Uniwersytetu Rzeszowskiego 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 Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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 Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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 Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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 Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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 Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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 Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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.)

Within the ecclesial space, sculptures with mainly aniconic content were found on the liturgical furniture: altar, ciborium, cathedra, chancel, ambo, and so on. The combinations of decorations featured elements of repertoires with characteristic layouts. Chasing, engraving, champlevé, bas-relief and openwork spread over the limits of the choir, reinforcing the significance of the sacrificial altar, the seat of the celebrant and the dais from which the Word resounded. The rituals had settings, sculpted milestones that were rarely inscribed and often enhanced by paintings that matched the colourful atmosphere of the church. Rich in information for the researcher, the loquacious pieces of furniture bore symbolic visual messages. The forms of the vestiges and the traces of their layout mapped out functional guidelines or dividing lines. In them, the movements of a liturgy that evolved between the fourth and tenth centuries may be recognised, one whose texts explain few of its details and variations.

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. 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.)

E ulu ē E ulu kini o ke Akua Ulu a'e 'o Kāne me Kanaloa Ulu ka 'Ōhi'a a lau ka wai Ka 'Ie'ie Ulu a'e ke Akua a noho i kona kahu Eia ka wai lā He wai ola E ola ia'u i ke kumu E ola i ke po'o, ke po'o pua'a E ola i ka pae, ka paepae E ola i nā haumana, nā haumana a pau 'Eli'eli kapu, 'eli'eli noa In this Pule Ho'oulu (prayer for inspiration), we are calling ourselves and you, the reader, to embrace growth and perpetuation of life's many sacred manifestations, to honour the guardians of our places and the sources of our knowledge, and affirm the profound responsibility that is conservation management. This chant initiates the process of kuahu , an altar of Native Hawaiian spiritual practice within Hālau 'Ōhi'a , a ritual-based stewardship program in Hawai'i led by Kumu (master teacher, a primary holder and source of knowledge for the community) Kekuhi Kealiikanakaoleohaililani. This paper outlines how the kuahu process has advanced learner capacity to embrace the many sacred dimensions of resource stewardship, thereby transforming conservation biology, and related conservation practices, through Indigenous perspectives. We examine themes evoked during the kuahu process at scales spanning the universal, the regional, and the personal. In doing so, we describe how kuahu practice can serve as a coparticipant, catalyst, and portal to sacred conservation, allowing learners to engage and grow more personal relationships with the environment, our communities, and ourselves. This paper outlines how the kuahu (altar of Native Hawaiian spiritual practice) has advanced learners in Hālau 'Ōhi'a (a ritual-based stewardship program in Hawai'i) to embrace the many sacred dimensions of natural and cultural resource stewardship. We examine themes evoked during the kuahu process at scales spanning the universal, the regional, and the personal. Kuahu practice can serve as a coparticipant, catalyst and portal to sacred conservation, allowing learners to engage and grow more personal relationships with the environment, communities and self. [ABSTRACT FROM AUTHOR]

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. 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.)