Dominican Order

The city of Split has inherited from the XIII century, its golden age, the largest and oldest group of works in painting and wooden polychrome sculpture in Croatia: three icons, three painted crosses and three works carved in wood and painted in early polychrome techniques, which, we prove in this paper, have been made with different painting techniques. The oldest panel paintings are from Zadar and are dated from the XII and early XIII centuries, while the other XIII century paintings are from Šibenik, Trogir, Hvar and Dubrovnik. Although some of the paintings in Zadar and Split have been linked to Tuscan painting, most of the other works belong to the historical heritage of what is known as the Dalmatian School of Painting, and within it the so-called Split School of Painting. The specific features of Dalmatian XIII century painting have been comprehensively researched by Croatian art historians (C. Fisković, Lj. Karaman, K. Prijatelj, J. Belamarić, Z.D. Staničić), while E. Garrison used the term Adriatic School for some of the works. A new generation of historical and technical research into paintings started in the 2000s in cooperation with the Technical Faculty in Munich, when some of them undertook the first group of technical analyses. A catalogue of paintings as part of C. Thieme's doctoral research was published in Germany. The author carried out multidisciplinary research over ten years into all the 20 works and is now working within the general framework of conservation-restoration projects on some of the paintings and carved polychrome works at the Croatian Conservation Institute. Illuminations in the Trogir Evangelistary from the same century were researched separately. Thieme significantly expanded analyses of the paintings from the 2000s and supplemented this with further comprehensive studies. Research and conservation projects on polychrome wooden sculpture revealed surviving polychrome and established its degree of preservation. Scientific technical photography and instrumental analyses were performed for the first time: from complex analyses of cross sections to many pigments analysed in situ, enabling the presentation of characteristics of the earliest polychrome in Croatia, namely one of the best￾preserved examples in Europe (XIII -century wooden choir stalls). One of the Split icons researched and conserved by the author, on which three medieval painted layers (using three different tempera techniques) were preserved, was published as an analytical map of medieval painting in Dalmatia.
Using scientific tools and analyses, the author compiled a table of the established stratigraphy of painted layers and polychrome, palettes of pigments and their mixtures, stratigraphy of binders and properties of varnishes (found in traces). In parallel, she analysed the type and age of the wooden structures and the construction properties of all the pieces, and an IT database is being developed to be completed in 2026. The stratigraphy of the painted layers and the properties of each of its modules (ground layers, pigment and glaze layers, gold and silver chrysography, gilding and varnish), as well as the composition of individual layers, the number and sequence of applications, the building of layers and shading, made it possible to study mutual relationships and the transfer of painting techniques among panel painting, wooden sculpture and illumination, and in a broader sense also wall paintings in Dalmatia. The paper presents the state of research with the aim of its contextualizing in the Mediterranean and scheduling the scope of the research until its completion in 2026.

a modo de introducción al pensamiento de dicho autor. Para ello se rastrean los antecedentes directos que pudieron influir en el pensamiento de Eckhart y en qué medida los continúa o reinterpreta, teniendo en cuenta tanto a los filósofos clásicos como a los autores reconocidos de la zona renano-flamenca. De igual manera, se busca establecer cómo las denominaciones que se le han atribuido de místico y metafísico pueden realmente serle adecuadas y en cuáles de sus acepciones. En este sentido, se sostiene que ambas facetas son parte constitutiva de su trabajo intelectual, en un periodo en que ambas van distanciándose paulatinamente, llevando a los autores a tomar parte por una en detrimento de la otra, lo cual termina por diferenciar a Eckhart de las corrientes posteriores aparecidas en la zona en cuestión. De entre los autores de la región geográfica estudiada, se puede considerar que la mística renana alcanza su cúspide con el pensamiento de Meister Eckhart, quien establece un sistema metafísico que da fundamento a su visión mística, la cual le ha hecho mayormente conocido. Esta investigación se lleva a cabo mediante el análisis

The construction of this cross-sectional section of Ereticopedia begins with the assumption that the social and cultural categories associated with individuals accused of witchcraft in the modern age are subject to significant variation. The stereotypes most frequently linked to witches, as highlighted and debated in many important historiographical works, must be considered in relation to documentary evidence, which does not always confirm them. Generally, the profiles that documents often present and that we expect to find correspond to a specific stereotype: an older woman, more rarely a man, of unpleasant appearance, poor, eccentric in behavior, and disliked by the local population. However, these social and cultural categories are not always present-quite the opposite. For instance, while in the Tuscan countryside of the early modern period we may find figures that match this stereotype, such as the paradigmatic cases of Gostanza da Libbiano and Maddalena Serchia, in the urban setting of 16th-century Modena, we instead encounter figures that largely contradict the traditional stereotype of the witch portrayed in much of the historiography. The figure of the beggar is almost entirely absent, and elderly widows represent a small minority among those tried for witchcraft. Instead, the alleged witches were mostly well integrated into the social life of the city. This supports a revisionist historiographical approach, emphasizing the variety of situations over adherence to a preconceived model. A similar scenario to that of Modena can be found in Siena during the same period and in certain areas of England, particularly Kent. The statistical analysis conducted by Oscar Di Simplicio for Siena allows him to conclude that "lo stereotipo della strega, come di una donna in età avanzata, non regge sulla base delle 80 indicazioni di età rimaste" ("the stereotype of the witch as an elderly woman does not hold up when based on the 80 age records that remain": Di Simplicio 2005, p. 102). Di Simplicio also notes an extremely general occupational situation as well as even greater uncertainty regarding the income of these accused and a non-marginal social status for the women accused of witchcraft. Similar findings have emerged from studies on the phenomenon of witch hunts in early modern England, many of which were inspired by Alan Macfarlane's pioneering study on Essex, though it did not deviate from the classic paradigm. Cynthia B. Herrup has observed that, regarding the Sussex region, those accused of witchcraft generally did not belong to social classes lower than those of their accusers. For 16th-and 17th-century Kent, Malcolm Gaskill has arrived at very significant conclusions based on solid documentation: "It is certainly true that many women accused of witchcraft in Kent were active and integrated in local society, rather than passive and isolated" (Gaskill 1996, p. 265). Moreover, in the German territories, the classic witch stereotype does not appear to be as dominant. Di Simplicio, highlighting the similarities with the case of Siena, stated: "Similarly, in Germany, a significant percentage of the women accused were not marginalized but were well-integrated figures within their communities" (Di Simplicio 2005, p. 111). The classic stereotype of the European witch, which has been confirmed in the analysis of documentation in renowned studies on witch hunts in modern Europe, such as those by Edward William Monter for France and Switzerland, Erik Midelfort for southern Germany, Keith Thomas for England, and Gustav Henningsen for the

Bien avant d'être un sujet d'études pour les historiens médiévistes, les philologues et les historiens de l'Eglise, Catherine de Sienne a été l'objet d'une époustouflante « carrière » de sainteté au sein de l'Eglise catholique, depuis sa canonisation en 1461, jusqu'à très récemment encore, en 1999, date de sa nomination, par le pape Jean-Paul II, comme copatronne de l'Europe.

The Order of the Friars Minor faced a dilemma from the outset: their Rule of life, written by their founder St Francis of Assisi, included a strict adherence to the ideal of absolute poverty (that is, living without property, even property held in common), and yet it was impossible to fulfil their pastoral activities in the community without at least one type of property-liturgical books. In both the earlier (1209/10-1221) and later (1223) Rules, St Francis discussed the ownership of books, but not their production. Surviving manuscripts and archival records alert us to the fact that friars did produce their own liturgical books and act as the scribes and illuminators of books made for others. As both producers and owners of illuminated manuscripts, the friars engaged in a careful navigation of the relationship between beauty (permissible as an expression of invisible divine beauty, as defined by Hugh of St Victor) and luxury. It was all too easy (as the Franciscan Durand of Champagne bemoaned) for friars to desire 'beautiful … and … curiously illuminated [books, rather] than true and well corrected ones'. This essay explores the ways in which friars negotiated the issues of poverty, beauty and luxury, and how they expressed and satisfied their desire for books, drawing on examples from the library of the Sacro Convento in Assisi.

Artykuł analizuje formę architektoniczną korpusu nawowego kościoła Dominikanów w Krakowie, wzniesionego na przełomie XIII i XIV w., w kontekście architektury Małopolski i sąsiednich regionów. Korpus można rekonstruować jako pięcioprzęsłową pseudobazylikę o trzech nawach, z szerszą nawą główną. Artykulację wnętrza tworzyły zapewne pojedyncze cylindryczne służki, a profilowania negatywowe mogły występować w filarkach wtórnie użytych w portalu zachodnim. Świątynia mieściła się w typowym dla mendykantów nurcie, podczas gdy w równolegle powstającym korpusie mariackim wprowadzono już bardziej nowoczesne formy – gruszkowe profile, geometryzowane kapitele kielichowe i złożone żebra – adaptowane w Krakowie równocześnie z ośrodkami Austrii, Czech i Śląska. Świadczy to o wyższym poziomie lokalnej architektury ok. 1300 r., niż dotąd sądzono. Podobne nowoczesne cechy mógł wykazywać także kościół Franciszkanów, choć zachowały się jedynie fragmenty maswerku i kapitel. Z kolei chór św. Marka, z poligonalnym zamknięciem, uchodzi za najwcześniejszy tego typu w regionie. Poza Krakowem większe budowle powstawały m.in. w Sandomierzu, Olkuszu i Nowym Sączu, gdzie jednak znane są tylko proste chóry o zamknięciu prostym, zapewne pod wpływem wzorców dominikańskich. Analiza najważniejszych realizacji, w tym dominikańskiego korpusu, potwierdza aktywny udział Małopolski w przemianach języka architektury Europy Środkowej na przełomie XIII i XIV w.

Tekst omawia okoliczności posługi duszpasterskiej braci dominikanów z konwentu w Płocku w diecezjalnej parafii Wniebowzięcia Najświętszej Panny Marii w Tłuchowie (Ziemia Dobrzyńska) i prezentuje ich życiorysy. Liczne grono płockich braci kaznodziejów, na chwilę przed kasatą klasztoru i tuż po niej, podejmowało się wielu dzieł duszpasterskich w parafiach diecezji płockiej. Za zgodą wyższych przełożonych zakonu oraz władzy diecezjalnej eksklaustrowani bracia zamieszkiwali głównie w wiejskich parafiach lub w kapelaniach pełniąc posługę kapłańską, de facto spełniając rolę wikariuszy parafialnych, wspomagających miejscowych proboszczów . W większości przypadków pełnili rolę promotorów bractw religijnych, choć zdarzało się, że otrzymywali administrację w wakujących placówkach. W parafii Panny Marii w Tłuchowie na przełomie XVIII i XIX wieku pracowało pięciu płockich dominikanów.

La figura del Mendicante nasce durante il Basso Medioevo in
occasione di particolari sfide sociali. Da allora i frati mendicanti
hanno contribuito a modellare la Chiesa. Tuttavia, nel corso dei
secoli, essi hanno mutato il loro concetto di mendicità. Una serie di
conferenze, tenute da storici appartenenti ai diversi ordini, offre
una visione dei molteplici valori e incoraggia un confronto
reciproco.

kaple Božího Těla náleží do skupiny dnes již zaniklých pražských sakrálních staveb doby lucemburské, jejíž stavební podoba nebyla nikdy detailněji zdokumentována. dosavadní rekonstrukce stavby byla založena na výpovědi několika obecnějších písemných zpráv a vyobrazení vedut. archeologie do této diskuse dlouho neměla možnost vstoupit z důvodu absence terénního výzkumu v místech její existence. Poprvé nahlédnout pod současný povrch umožnil zjišťovací archeologický výzkum v roce 2011, vyvolaný přípravou revitalizace karlova náměstí. Jeho výsledky nám umožňují podstatně více specifikovat nejen podobu dochování pozůstatků kaple pod dnešním povrchem náměstí, ale i rekonstruovat sídelní vývoj tohoto místa. The corpus christi chapel is deserted since the governing period of the house of luxembourg. its building structure has never been documented in detail. current reconstruction of the building was based on several general written records and period prints. archaeological excavation of the church site has not been pursued until 2011 due to revitalisation of the charles square. its results enable to specify not only the appearance of the chapel remains below current square surface but also to reconstruct the settlement development of this site.

Předložený článek shrnuje výsledky posledního archeologického výzkumu z roku 2011 na křižovnickém náměstí na starém Městě pražském, v místech, kde do současné doby zůstala zachována část románské mostní konstrukce. stručný úvod do historie stavby Juditina mostu a jejího poznávání je doplněn popisem nálezové situace, rozborem získaných poznatků a shrnutím nových zjištění o konstrukci a výstavbě. New kNowledge about the coNstructioN of the Judith bridge iN Prague this article summarises results from the last archaeological excavations in 2011 at the křižovnické square at staré Město in Prague on the site with a preserved part of the romanesque bridge. brief introduction to the history of the Judith bridge construction and its recognition is supplemented by a description of finds contexts, analysis of the results and compilation of new knowledge concerning the construction. Klíčová slova -Praha -Juditin most -mostní stavby -archeologický výzkum -operativní průzkum a dokumentace -stavební konstrukce a technologie výstavby -stavební materiály Key words -Prague -Judith bridge -bridge construction -archaeological excavation -operational research and documentation -building construction and technology -building materials Juditin most patří k pozoruhodným výtvorům domácího mostního stavitelství. s jeho vznikem vstupuje na území Prahy poprvé znalost tvůrců kamenných mostních staveb, která má svoje základy již v antickém stavitelství. Z odborného hlediska se jedná o stavbu, které byla v minulosti věnována pozornost především mezi historiky umění a archeology. vzhledem k zániku podstatné části Juditina mostu již v minulosti je jeho další poznávání spojené výhradně s terénními výzkumy pod současným povrchem, vodní hladinou, případně stavebním průzkumem stávající zástavby v místech jeho trasy. odborné poznávání nejstaršího kamenného mostu v Praze je záležitostí značně komplikovanou nejen z důvodu, že základy jeho nosné konstrukce jsou ukryty na dně vltavy, ale také samotné jeho vyústění se nalézá v místech převrstvených novou zástavbou.

the iconographic study of blessed Helen of veszprém or Hungary presented here highlights the difficulties of the historical-artistic approach of the supposed magistra of saint Margaret of Hungary. the present work examines the visual construction of the Hungarian blessed and her earliest literary sources, the iconographic contamination caused by her disciple' s adoption of Christ' s wounds and the lilies growing from them, as well as the analysis of what is believed to be the oldest surviving image of Helena of veszprém, contained in a reliquary now exhibited in the Cistercian convent of Las Huelgas in burgos (spain).

The overlapping circles and interconnecting figures (friars, saints, and sporadically rulers) delineate a long and winding path of reception and rejection of Observance among the Dominicans in Dubrovnik during the long 15th century. Those circles rest on the mobility of the prominent friars on two axes: Dubrovnik – Venice (the circles of Giovanni Dominici) and Dubrovnik – Buda (the court of Matthias Corvinus) but also include lay persons or members of different orders. Some of them were outsiders to the local Observant „cause“ (as were Sicilian merchant Giovanni Sparterio or Franciscan apologist of Savonarola Giorgio Benigno Salviati–Dragišić ), but nonetheless contributed significantly to the channels through which Observant ideas, cults, and iconography were diffused. The paper traces the chains of personal connections that resulted in transfers of devotional patterns (dedication of altars and chapels to Observant saints, iconographic programmes) and circulation of objects (books, relics).

Il titolo di questa raccolta di scritti su La "varia fortuna di Dante" in Italia e in Europa richiama volutamente il saggio che Carlo Dionisotti compose in occasione delle celebrazioni per il settecentenario della nascita del poeta, «testo ancor oggi fondamentale -come ha scritto Roberto Antonelli -per la ricezione dantesca fino al Novecento, e realmente ineludibile». Certo, la bibliografia sul tema ha continuato in seguito ad arricchirsi né sono mancate, in occasione delle celebrazioni per i settecento anni dalla morte, mostre, seminari, convegni e pubblicazioni che si sono proposti di mettere in luce la capacità della Commedia -com'è tipico dei classici e, in particolare del massimo capolavoro della nostra letteratura -di farsi leggere, interpretare e riutilizzare da generazioni e pubblici diversi (nazionali e internazionali), per forme espressive, proiezioni e scopi comunicativi altrettanto vari, da quelli intellettualmente e artisticamente più elevati fino a quelli più "prosaici" e popolari della pubblicità commerciale e dell'appropriazione "postmoderna" di Dante come icona pop. [...] Una prima mappa orientativa per il lettore è indubbiamente tracciata dalla stessa suddivisione del libro in tre parti: nella prima si torna a riflettere sulla questione del "principato dantesco" dal punto di vista della tradizione storiografica italiana e del ruolo che a Dante fu attribuito, a partire dal Risorgimento, nella costruzione dell'identità nazionale e poi nella mitografia del nazionalismo novecentesco; l'indagine sull'esemplarità dantesca si estende, nella seconda parte della silloge, alla dimensione europea, toccando varie epoche, contesti culturali e manifestazioni specifiche di impulso creativo o di riflessione teorica stimolate dall'opera del grande poeta fiorentino. La terza parte, infine, costituisce una sorta di appendice: un'inconsueta messa a fuoco dei significati che assumono oggi le esperienze di traduzione della Commedia nella lingua più diffusa al mondo. Nella tessitura complessiva del volume si intrecciano però più filoni di sviluppo tematico, che il lettore potrà scegliere di seguire in base ai propri interessi.

In fourteenth-century Italy, especially in the northern-central part, there was widespread interest in what was called 'Dante's book'. In 1373-1374, Boccaccio gave public readings to a large audience of some of the cantos from the Inferno. These performances, somewhere between recitation and commentary, were a new way of broadcasting Dante's work; since that time there has been a constant increase around the world of variations on this theme: acts that are informative and/or academic, and always declamatory. On the death of the author of the Decameron, the lectures were continued by Antonio Pievano di Vado (1381) and Filippo Villani (1391), contemporaries of the commentators Benvenuto da Imola and Francesco da Buti, and later by Francesco Filelfo (1431-1432) at Santa Maria del Fiore, despite the opposition of the supporters of the Medicis, who made things difficult for him and finally expelled him from the city. In fifteenth-century Florence, readings of Dante were risky, even dangerous, because the poet had become a symbol of sedition. Until the 1470s, readings by, among others, Lorenzo di Giovanni da Pisa and Antonio da Castello, continued in the studia or in churches in the city, and there were similar acts in cities such as Bologna, Milan, Siena, and Rome. Boccaccio's example was also followed by members of the Accademia Fiorentina, founded in 1540, where known scholars of Dante, such as Giambattista Gelli,1 Benedetto Varchi, and Galileo Galilei, commented on the Commedia for their fellow academicians. After a century of silence, the informative or academic public reading

This paper discusses the work-in-progress of the reconstruction of the two Rucellai chapels of the ex-Florentine church of San Pancrazio, which now survives as the Museo Marino Marini. Suppressed in the nineteenth century, San Pancrazio suffered numerous structural interventions across the centuries that drastically and permanently altered the configuration of this sacred space. Textual and visual primary sources, together with data gathered from surveys, allow us to create an informed and interrogable digital model adapted for both a scholarly and a museum environment.

A particular highlight of the complex was Leon Battista Alberti’s surviving fifteenth-century marble burial tempietto for Giovanni Rucellai; the sepulchre chapel sat adjacent to a second Rucellai chapel that housed Filippino Lippi’s c.1485 altarpiece of the Virgin and Child with Saints Dominic and Jerome, now at the National Gallery in London. Questions regarding the recontextualization of these objects and the relationships between these spaces provide a test case for the refinement of the working methods already adopted by the Florence4D team for previous reconstructions of Santa Maria degli Innocenti and the camera terrena of Palazzo Medici. Our aim is to address and improve the efficiency of collaboration for the integration of documentary research and digital expertise, which are both fundamental to such visualisation work. Custom extensions for our main software applications seek to clarify interpretative decisions and to streamline and optimise the modelling process, allocating more time to research rather than technical setup.

We discuss our development of the Florence4D workflow and its current focus on improving collaborative working and data management, modular approaches, and the improved linkage of the 3D model to the underpinning research data. Compared to previous approaches, our workflow utilises a more versatile modelling framework, which grants the researcher greater control in assembling individual objects into a 3D reconstruction; this facilitates their work of interpretation and increases the possibility of more nuanced decisions and comparisons between alternative layouts before reaching a polished outcome. A greater digital proficiency is demanded of all team members, as well as repurposable digital skills to be adapted to different use-case scenarios.

This source edition includes the inventory of the Jesuit college in Minsk, issued on the turn of 1773 and 1774 in the aftermath of the suppression of the Society of Jesus. The inventory includes a description of the college building, a library catalogue, a pharmacy inventory and a detailed description of the land estates.

T his article presents the unpublished last testament of the Circassian noblewoman and Safavid ambassadress Teresa Sampsonia Shirley (c.1589-1668), who is thought to have been the daughter of a Circassian ruler named Isma'il Khan and was baptised as a Catholic in 1608. 1 Her husband, Sir Robert Shirley (1581-1628), was an English adventurer who served as an ambassador to Shah Abbas (1571-1629). The couple travelled extensively, visiting England, India, Portugal, Spain and Italy. She was a highly skilled linguist and is recorded on two occasions as having saved her husband's life during their journeys together. 2 Sampsonia's testament was found in the Archivio di Stato di Roma among death records handled by the notary Giovanni Oliverius Bonifacius. 3 It comprises two pages: the first lists the document's ten legal witnesses (Fig. ), while the second expresses Sampsonia's wishes for the distribution of her estate (Appendices). Here we learn, for the first time, the exact date of her death in Rome: 7th May 1668. The testament is the second known document written using her own words and contributes to a growing body of scholarship focused on her life. 4 A Safavid ambassadress in Rome: the last testament of Teresa Sampsonia Shirley Teresa Sampsonia Shirley, a Circassian noblewoman from the Safavid Empire, conducted diplomatic business across Europe alongside her husband, the English-born Safavid ambassador Robert Shirley. Her last testament, published here for the first time, provides valuable insights into her later and more modest life in Rome, where she lived after the death of her husband.

André Dias de Escobar (c. 1357-1448) was a central figure in the history of the Church during the fifteenth century. While his life in the service of various popes reflects the turmoil of the Western Schism, his works and his engagement-as a participant and a theoretician-in the major councils of his day clearly express his determination to contribute to a reform of the Church. This article focuses on a neglected work of his, to wit, the anti-Jewish treatise De publicatione haeresum contentarum in Talmud, which André wrote after spending time at the court of the (anti) pope Benedict XIII in Tortosa (1414). During his sojourn, André attended the last sessions of the so-called Disputation of Tortosa, a Christian-Jewish debate on the Talmud convened by Benedict XIII. As we show by means of philological analysis, De publicatione, which has not yet been edited, turns out to be something of a treasure trove for scholars of anti-Talmudic Christian polemic literature. Compiling a wide range of both known and unknown sources, it seems to draw to a large extent on Pope Benedict's rich anti-heretical and, more specifically, anti-Jewish library. The article thus contributes to our understanding of the textual and doctrinal context of one of the major anti-Jewish disputations of the Middle Ages, while it also sheds new light on the history of Benedict's anti-heretical library.

André Dias de Escobar (c. 1357-1448) was a central figure in the history of the Church during the fifteenth century. While his life in the service of various popes reflects the turmoil of the Western Schism, his works and his engagement-as a participant and a theoretician-in the major councils of his day clearly express his determination to contribute to a reform of the Church. This article focuses on a neglected work of his, to wit, the anti-Jewish treatise De publicatione haeresum contentarum in Talmud, which André wrote after spending time at the court of the (anti) pope Benedict XIII in Tortosa (1414). During his sojourn, André attended the last sessions of the so-called Disputation of Tortosa, a Christian-Jewish debate on the Talmud convened by Benedict XIII. As we show by means of philological analysis, De publicatione, which has not yet been edited, turns out to be something of a treasure trove for scholars of anti-Talmudic Christian polemic literature. Compiling a wide range of both known and unknown sources, it seems to draw to a large extent on Pope Benedict's rich anti-heretical and, more specifically, anti-Jewish library. The article thus contributes to our understanding of the textual and doctrinal context of one of the major anti-Jewish disputations of the Middle Ages, while it also sheds new light on the history of Benedict's anti-heretical library.

The chapter delves into a probe of the religious history of the Duchy of Opava. The 17th century brought extensive confessional changes in the Bohemian lands. The contribution highlights archival sources that can help to better understand these changes in the Opava region and provide insights into why such changes occurred more slowly there than in Bohemia and Moravia. The study focuses primarily on information drawn from parish registers, various lists categorized by faith, records of converts or non-Catholics, and personal sources. Many of these sources, which have so far been underutilized in historiography, offer valuable information on the confessional situation in 17th-century Opava.

On this paper, we will study the come back of the thematic martyrdom on hagiographies of the 13 th century, thinking about the relations established between the Church and the other religious movements, specially the Preachers Orders and the Catharism. Finally, we will correlate these preliminary conclusions with the analysis of the report on the imaginary martyrdom of Dominic of Guzman, founder of the Dominican Order, present at the Golden Legend.

The remains of the Dominican convent buildings in Åhus have in many respects been the most anonymous ruin within the former medieval town. Only a badly weathered brick wall in the Munken block, southeast of the market square, bears witness above ground to this once important friary. Together with St. Mary's Church and the Archbishop's Castle, it dominated the cityscape from the mid-13th century until Åhus lost its town privileges in 1617. Then, the buildings were rapidly demolished, so that the bricks and stones could be re-used in the new fortress town Kristianstad.
During the second half of the 20th century, some minor archaeological excavations were carried out in connection with various construction projects in the former Blackfriars area, but the remains hidden underground were largely untouched. This changed in 1996 with an excavation at Varvsgatan where the northeastern part of the convent's cemetery was affected and the remains of some 250 people were found. But as late as 2001 the Administrative Board of Skåne County proposed that the remaining wall should be partially dismantled due to the risk of collapse. However, a local public outcry led to the wall being repaired and secured instead. A few years later the former garden west of the ruin became public ground as the Convent Park (Konventparken) was created.
In 2023, it was time for renewed repairs and an upkeep of the friary wall. At the same time, the park as a whole was to be redesigned. In connection with this Sydsvensk Arkeologi was commissioned to supervise the work as the site is a registered ancient monument and thus protected by law. In consultation with the County Administrative Board, it was also decided to use this opportunity to seek more knowledge about the Dominican convent and it’s building complex in Åhus, using various modern research methods.
During the summer of 2023, mapping with ground-penetrating radar (GPR) was carried out in the park, revealing that the foundations of the south and west wing was to be found some 50 to 80 cm below the present ground level. Furthermore, the cloisters and the garden it had surrounded also appeared on the screen as well as a number of medieval graves.
After thorough analysis of the GPR results, a limited test survey was carried out in the ruin area in October 2023. A total of nine small trenches were opened at points where the interpretation of the radar images needed to be confirmed. It soon became obvious that the agreement between radar data and what was actually to be found in the ground was very good. As a direct result an accurate plan of the friary, based on archaeological knowledge, could now be established for the first time.
The standing brick wall was photo documented so that an exact 3D model could be created, showing its present status. A general masonry documentation was also carried out within the project. The findings made it possible to reconstruct the ground plan of the eastern wing of the friary and to support the interpretation of the existence of a two-storey cloisters, built in wood along the west wall of the eastern wing.
When the vegetation was cleared away in the neighbouring property Munken 10, previously overlooked wall remains could be fitted into the ground plan of the friary. Both the eastern wall of the eastern wing and a fragment of the south wall of the church could be identified.
During the field work a limited number of finds were collected, as well as a small number of secondarily placed human skeletal remains, coming from disturbed burials. The bones have been analysed, as have archaeobotanical soil samples taken from the trenches dug in the park. Furthermore, the archaeologists from Sydsvensk Arkeologi Ltd also participated in the preparation of a new information sign, intended to give visitors to Konventparken the latest discoveries. To sum up, the Blackfriars site, once housing the buildings belonging to the Dominican convent in Åhus, is no longer the unknown territory it used to be. Quite the contrary, as the ruin has become far more visible in the present urban space. At the same time, the new knowledge is spread in a number of different forums – both popular and scientific.

Hammersdorf war ursprünglich ein eigenständiges Dorf nahe Sibiu (Hermannstadt) in Rumänien. Eine Straße, die den Namen "Hammersdorfer Weg" trägt, verbindet es bis heute mit der Stadt und erinnert an die historische Bedeutung des Dorfes 2 , besonders als Anbaugebiet für Obst und Gemüse, das den Stadtmarkt versorgte. Auch heute noch gibt es einige Bewohner, die Landwirtschaft betreiben, doch durch den Druck der Supermärkte nimmt ihre Zahl ab.

JAKOB OLRIK Jakob Baden Olrik, født 1881, var dansk statsborger og katolsk praest. Han var jurist, konvertit og havde studeret teologi i Paderborn og Innsbruck, hvor han blev praesteviet. Det var i årene for første verdenskrig, Tyskland/Østrig Ungarn og Rusland lå i krig på østfronten. I juni 1916 returnerede han efter studier ved Gregoriana i Rom til København og blev ansat som sekretaer for biskop Johannes von Euch i Bredgade. I maj 1916 modtog biskoppen brev fra bispesaedet i Paderborn om efter instruks fra Vatikanet at sende en katolsk praest til de tyske krigsfanger i Rusland og Sibirien. Det blev så Olrik, frisk fra udlandet og sprogkyndig i fransk, polsk og tysk.

Esta pesquisa tem como objetivo analisar diferentes versões da narrativa de Teófilo, produzidas por autores como Jacopo de Varazze (1226–1298), o rei Afonso X (1221–1284) e Gonzalo de Berceo (1195–1264). Originada no século IX, essa história medieval alcançou grande popularidade nos séculos XII e XIII. A narrativa relata a trajetória de um religioso cristão que, ao perder prestígio, realiza um pacto com o Diabo, intermediado por um homem associado ao ocultismo, frequentemente identificado como judeu. Arrependido, Teófilo recorreu à intercessão da Virgem Maria, que derrota o Diabo e anula o pacto. A análise concentra-se em três temas amplamente disseminados entre os séculos XII e XIII: o culto mariano — que gerou vasta produção literária, sobretudo no século XIII —, a intensificação da representação demoníaca e a consolidação de estereótipos negativos sobre os judeus. Parte-se do pressuposto de que a convergência desses elementos contribuiu para a ampla difusão da narrativa de Teófilo no imaginário medieval.

By the end of Matthew Kadane’s artful interweaving of the micro-historical with the macro-historical—of the diaries and letters of provincial ‘nobodies’ (pp. 19–20) with the transnational texts and trends of the Enlightenment—Pentecost Barker (1690–1762) changes from an obscure English merchant to an unexpected paradigm of wider Enlightenment developments. While Barker’s renunciation of a spiritually stifling Presbyterianism to join the ranks of free-thinking deists and anthro-optimists is compelling in its own right, Kadane sees Barker as a uniquely interesting case study because of his conversion’s principal rationale: the rejection of original sin. Across nine lucid chapters situating the parochial and the continental in relation to each other, Kadane argues for the ‘forgotten’ (p. 11) role of original sin as ‘the cultural’ and ‘conceptual threshold between confessional and Enlightenment Europe’ (pp. 5, 174). In so doing, he has two further aims: first, to ‘embed[]’ (p. 19) abstract concepts in the concrete personal lives of Barker and his milieu (the goal of Chicago Press’s ‘Life of Ideas’ series); and, second, to nuance the complex relationship of appropriation, rejection, and ‘repackaging’ (p. 13) between ‘Augustinian’ Christianity and its Enlightenment critics.

La Lettera sull’osservanza della vita regolare di Umberto di Romans (ca. 1200-1277), quinto Maestro Generale dell’Ordine dei Predicatori (1254-1263), rappresenta una testimonianza di straordinario valore per la comprensione della spiritualità domenicana del XIII secolo. Redatta probabilmente attorno al 1255, la lettera si configura come un’ampia esortazione circolare, volta a consolidare la disciplina comunitaria e a rafforzare la formazione interiore dei frati. Al centro dell’opera si trovano l’obbedienza, la povertà e la castità, presentate non solo come voti, ma come atteggiamenti spirituali che devono permeare tutta la vita regolare. Accanto ad esse, Umberto sviluppa un discorso sull’umiltà e sulla pazienza, considerate rispettivamente la “madre” e lo “scudo” delle virtù. Lo stile, che unisce rigore normativo e ricchezza di immagini bibliche e patristiche, conferisce alla lettera un carattere al tempo stesso formativo e pastorale. In prospettiva storica, il testo riflette le tensioni tra mendicanti e clero secolare e la necessità dell’Ordine dei Predicatori, a pochi decenni dalla fondazione, di difendere e consolidare il proprio stile di vita evangelico. Ancora oggi, questa opera si rivela attuale per la sua capacità di mettere in luce la coerenza tra interiorità e azione nella vita consacrata, offrendo un richiamo universale alla radicalità evangelica.

To assess women's patronage roles in the fifteenth to seventeenth centuries requires the acknowledgement that women's support of the arts transpired within a deeply embedded patron-client arrangement pervasive in European social relations and religious practice. It also requires examination of the period's laws and gender norms. This paper surveys and attempts to categorise how and why a range of European women-from Isabella d'Este in Italy, Catherine de' Medici in France, and various Habsburg queens, in Spain, France, and the Netherlands, to less well known patrons-acquired and made use of the visual arts and architecture in the early modern period. Women and men actively supported art and architecture in all its forms and maintained relationships with canonical artists. They operated, however, in a society that prescribed differentiated male and female roles. In the Renaissance, unlike today, art did not occupy a separate sphere in which artists made largely non-utilitarian creations. Motivated by the desire for salvation, patrons initiated the process, hiring artists and architects to build and decorate churches and provide the liturgical apparatus central to religious practice. At the same time patronage of such works, together with civic and domestic architecture and decoration, enhanced personal and family stature. These connections are clear in an inscription accompanying a painting that Catherine King quoted in her recent book on Italian women patrons of the Renaissance: Ad lectorem. Nobile testata est pingi pia Brisida quondam Hoc opus. O! nimium munera grata Deo. Si petis auctoris nomen. Nicolaus alumnus Fulginae: patriae pulcra corona suae Octo quincties centum de millibus anni, Cum manus imposita est ultima, vanuerant. Sed quis plus meruit, quaeso, te judice, lector Cum causam dederit Brisida et ille manum? RENAISSANCE WOMEN AS PATRONS OF ART AND CULTURE Renaessanceforum 4 • 2008 • www.renaessanceforum.dk Sheila ffolliott: European Women Patrons SIDE 2 AF 18 To the reader The pious Brisida, now dead, willed that this noble work be painted. Oh! a gift extremely pleasing to God. If you seek to know the artist's name, it is Niccolò L'Alunno of Foligno, beautiful crown of his native land. Eight years from one thousand and five hundred had passed when he put the finishing touches. But who is the more worthy of merit according to you, I ask you, my reader, since Brisida gave the commission, and he the exacting hand? 1 Let us examine the inscription's language. It names the patron and asserts that her commission pleases God. Then it provides the artist's name. Finally, and provocatively, given today's assumptions about art, it asks whether the artist or the patron is more worthy of merit. Significantly, this patron, Brisida, was female. Nevertheless, Francis Haskell's magisterial Patrons and Painters, first published in 1963, the first comprehensive examination of visual arts patronage in early modern Italy, includes very few women. The patrons Haskell examined had great wealth and powerpopes, cardinals, and princes-and collected antiquities and cultivated the artists most prized today. Although many women commissioned artworks, few conform to his model. Those who did were exceptional: rulers like Christina of Sweden or Christine de Bourbon, Duchess of Savoy, with the resources and position to engage in that arena. When Haskell names some women who were active art patrons, like Anna Colonna Barberini in Rome, he provides, however, only the information that she married a male patron. 2 Women actively supported art and architecture in all its forms and some maintained relationships with canonical artists, but that is only part of the story. Why did Haskell ignore the patronage activity of Anna and many women like her? Assessing women's patronage requires a different model, one that takes gender into account. Law denied most women access to money, but there were regional differences and widowhood offered some scope. 3 Gender norms advocated by treatises like Alberti's On the Family (1433-4) to Castiglione's Book of the Courtier (1528) to Juan Luis Vives' treatise A very frutefull and pleasant boke called the instruction of a christen woman (1529?), provided gender-based models for ideal behaviours. Patronage models for women emerging from such sources include the sometimes overlapping categories: pious wife and widow, guardian, court lady, nun, and ruler. Working within and occasionally resisting the implications of these terms, women, by which I largely intend those of aristocratic and royal 1

Il complesso conventuale di San Domenico a Pistoia conserva un patrimonio d’arte di grande rilevanza. Esso è composto per lo più dagli affreschi che arricchivano la chiesa sin dall’epoca medievale e alcuni luoghi della vita comune, come la Sala capitolare, sin dai secoli XIII e XIV. Ma vi sono anche affreschi che ricordano le decorazioni dei chiostri avvenute in epoche successive come i cicli pittorici del portico della Maddalena di epoca secentesca e gli episodi della vita di san Domenico opera di Sebastiano Vini nel chiostro grande. A seguito delle diverse vicende che il convento subì negli otto secoli della sua storia, e in particolare a seguito del bombardamento che colpì il convento nell’ottobre del 1943, quasi nulla rimane oggi della decorazione del chiostro grande, tranne un prezioso affresco della Madonna che allatta, ora conservato nella sala dell’antico refettorio.
Riguardo a tale patrimonio, da qualche anno è stata promossa una serie di ricerche e di studi, all’interno dell’attività culturale del Centro Espaces ‘Giorgio La Pira’ che ha sede nel convento. La pubblicazione che qui presentiamo è frutto di questa indagine che ha coinvolto, oltre a ricercatori di fama o docenti affermati, anche giovani studiosi e ricercatori che con passione hanno elaborato analisi e offrono l’esito della loro ricerca.
L’intento del volume è quindi di proporre, pur nella frammentarietà del patrimonio artistico, un quadro di insieme che possa rendere possibile la valutazione e la valorizzazione del complesso nel suo essere custodia di tali tesori d’arte.

Артыкул прысвечаны фінансаваму забеспячэнню Дамініканскага ордэна ў Беларусі. Асаблівую каштоўнасць у вывучэнні кляштарнага быту маюць кнігі выдаткаў з кляштараў у Рэчыцы і Заслаўі, якія акрамя адлюстравання фінансавага стану кляштараў раскрываюць штодзённыя патрэбы манахаў. Аналізуючы запісы, магчыма ўзнавіць эканамічную структуру кляштараў, разгледзіць узаемадзеянне з мясцовым насельніцтвам і выявіць асаблівасці манаскага побыту. Вывучэнне кніг выдаткаў не толькі раскрывае матэрыяльны бок жыцця манахаў, але і дазваляе лепш зразумець духоўныя і сацыяльныя аспекты іх існавання, што робіць гэтую тэму надзвычай важнай для гістарычных даследаванняў.

John Wyclif 2 foi um importante teólogo na universidade de Oxford no século XIV. Sendo e uma família da baixa nobreza inglesa 3 ingressou na universidade inglesa através do Merton College 4 por volta de 1350. Na mesma época ele recebe sua ordenação e começa suas pregações, ainda sob a supervisão de John Thoresby 5. Ao conseguir sua titulação de doutor em teologia, por volta de 1370, começa a se destacar pela sua incrível capacidade de lógica, sendo que chega a ser definido como "aquele que não fica atrás de ninguém na filosofia, incomparável nas disciplinas escolásticas, (...) o mais iminente doutor em teologia daquele tempo" 6. Wyclif produz uma grande quantidade de obras tanto em latim como em inglês, entre elas tratados de teologia, direito eclesiástico e especialmente críticas duras à Igreja Católica, não somente ao pontífice ou aos costumes dos prelados, mas à própria institucionalização da Igreja em si, defendendo um cristianismo não institucional 7. Nestas obras, de forma semelhante a outros pensadores considerados hereges em sua época, Wyclif faz acusações onde relaciona o papado, prelados e membros do Clero com o anticristo e satanás. Acusando-os de serem seguidores de deste último e deturpadores da verdadeira religião. A acusação de que os líderes da Igreja Católica haviam se sucumbido às tentações de satanás não é rara, Espirituais Franciscanos, Cátaros e Valdenses o fizeram.

Este livro produzido pelo Brathair (Grupo de Estudos Celtas e Germânicos) e com apoio do Programa de Estudos Medievais da UFRJ (PEM-UFRJ) trabalha com a ideia de que é preciso aproximar o Medievo
da sociedade e dos não-especialistas em História Medieval. A publicação é dividida em duas partes: 1. Ensino e Aprendizagem em História e 2. Fontes e Ensino de História, visando articular as áreas de Ensino e Pesquisa em História Medieval.

szowskiego, powołał się na niezachowaną księgę wydatków konwentu z pierwszej połowy XVII w.: Ac imprimis altare maius insigne affabre elaboratum aedificavit, et pro toto hoc tali opificio cum lignis solvit duo millia floren[orum], ut habetur in regestro exposit[orum] 1615 in Febr[uario] et 1621 in Julio. Pictori vero pro auro et pictura quatuor millia quingentos et quinquaginta sex floren[orum] persolvit, absque aliis salariis familiae, ut habetur in Lib[ro] Consil[iorum] fol. 25, fac. 2 (APPD, Kr 8, k. 156). Zagadnienie pierwszego nowożytnego ołtarza głównego w kościele Świętej Trójcy podjęła