Pilgrimage and Art

Viollet-le-duC, Dictionnaire raisonné de l'architecture française du xi e au xvi e siècle, París 1954-1868. 4 C. Heitz, "D'Aix-la-Chapelle à Saint-Bénigne de Dijon, rotondes mariales carolingiennes et ottoniennes", Les Cahiers de Saint-Michel de Cuxa, XXV (1994), pp. 5-11; M. Jannet y C. sapin (dirs.), Actes du Colloque Guillaume de Volpiano et l'architecture des rotondes, Dijon, 1995; V. Volta e I. passaMani BonoMi, Rotonde d'Italia: analisi tipologica della pianta centrale, Milán, 2008. 5 La bibliografía es abundantísima. Señalaré algunas aportaciones de interés para este artículo: R. KrautHeiMer, "Introduction to an Iconography of Medieval Architecture", Journal of the Courtauld and Warburg Institutes, 5 (1942), pp. 1-33; E. laMBert, "L'église des templiers de Laon et les chapelles de plan

The Leventis Municipal Museum of Nicosia, Cyrus, houses in its collection a 15th or early 16th-century brass basin (B/2004/30400) executed in a late-Mamluk style with Hebrew and Arabic inscriptions. The vessel’s previously untranslated epigraphy, as well as its construction and decoration situate the object within the rich cross-cultural environment of the late medieval or early modern Levant. The basin adapts the form of the traditional Mamluk ablution vessel for Jewish ritual purposes. Building on the work of Mary Douglas, Jonathan Smith, and Uri Shachar on the ways systems of ritual purity act as symbolic markers of communal boundaries and as vehicles of interdependence, this paper explores the intersection of artistic and ritual co-production of ritual purity practices.

Johann Georg von Oppersdorff, proprietor of the Głogówek dominion and the Frydek state, was a prominent figure within the pro-Habsburg Catholic faction in Upper Silesia during the Thirty Years War. Following his studies in Olomouc and Graz, where he encountered the future emperor Ferdinand von Habsburg and his brother Charles, who would subsequently become bishop of Breslau, in 1609 he embarked on his grand tour through Styria, Tirol, Bavaria and Italy. Six years later, he undertook a pilgrimage to Loreto once again, and in 1622 he revisited Bavaria. The artist's travels had a significant impact on his artistic oeuvre, notably the expansion of the Głogówek castle, the Loreto Chapel and St. Anthony's Chapel in Głogówek, as well as the Annunciation Chapel in Frydek.

Nürnberg (?), nach 1503 D D ie Pilgertafel des sächsischen Kurfürsten Friedrich III. (1463-1525), genannt der Weise, gleicht auf den ersten Blick einem Wimmelbild. Zahlreiche Figuren bevölkern die weite Landschaft des Heiligen Landes zwischen Mittelmeer im Vordergrund und Totem Meer im Hintergrund, von Nazareth links im Norden bis Bethlehem rechts im Süden. Nur die zum Himmel auffahrenden Figuren der Muttergottes und Christi sowie der direkt in senkrechter Linie unter diesem in Bethaltung dargestellte Kurfürst nebst Wappen stechen heraus. Die unter ihm befindliche Inschrift »Friderich Von gottes gnaden / Hertzog Zu Sachsen und churfürst / Zug Zum Heylige[n] grab 1493« erläutert den Zusammenhang der Tafel mit Friedrichs Pilgerreise, die zahlreiche Stiftungen und den Zuwachs seiner enormen Reliquiensammlung in der Wittenberger Schlosskirche nach sich zog. Die übrigen Figuren lassen sich erst bei Betrachtung aus größerer Nähe identifizieren. Wir sehen uns einem christologischen Panorama gegenüber, das die Heilsgeschichte vornehmlich des Neuen Testaments -sowie den Kampf Davids gegen Goliath -an ihrem Handlungsort vor Augen führt. Christus selbst ist vielfach ins Bild gesetzt: Allein 23 Szenen am Ölberg und in den Straßen Jerusalems sind der Passion gewidmet |Abb. S. 246|. 1 Inschriften identifizieren wichtige loca sancta (Heilige Stätten) und Personen. Neben das historisch-biblische Bildpersonal treten zeitgenössische Pilger und Menschen mit »orientalischer« Kopfbedeckung, die aber nicht mit den biblischen Figuren interagieren. Diese zeitliche Schichtung spiegelt auch der Stadtraum Jerusalems: So bewegt sich der kreuztragende Christus auf die erst über dreihundert Jahre nach seinem Tod unter Kaiser Konstantin errichtete Grabeskirche zu. Die Tafel stellt damit zum einen das Thema der Pilgerschaft dar, zum anderen bietet sie den Betrachter*innen selbst die Möglichkeit, durch die Versenkung in die biblische Landschaft, in die Szenen und Inschriften gleichsam eine imaginäre Pilgerreise zu unternehmen. Bisher konnten weder Künstler noch Herstellungsort oder Auftraggeber mit Sicherheit identifiziert werden. Die vormalige Zuschreibung an den Nürnberger Künstler Jakob Elsner wie auch eine mögliche Autorschaft Lucas Cranachs als vermeintlicher Begleiter Friedrichs ins Heilige Land werden von der jüngeren Forschung verworfen. Die Datierung ist ebenfalls unsicher; der stilistische Befund weist jedoch auf das erste Viertel des 16. Jahrhunderts und damit deutlich nach Friedrichs Pilgerreise. Jüngere Untersuchungen legen nahe, dass Friedrichs Figur erst später, womöglich anlässlich seines Besuchs in Nürnberg 1507, ergänzt wurde, wo ihm die Tafel als Geschenk überreicht worden sein könnte. Auf die nachträgliche Überarbeitung deutet auch ein in vielen Details übereinstimmendes Heilig-Land-Panorama mit Nürnberger Provenienz ohne den Fürsten, das wohl 1974 bei einem Brand auf dem irischen Landsitz Powerscourt zerstört wurde. Als Terminus post quem für die Entstehung der Gothaer Tafel gilt das Jahr 1503. Mit diesem endet die rückseitig befindliche Porträtreihe von acht Jerusalem-Pilgern der Nürnberger Kaufmannsfamilie Ketzel. Wolff Ketzel wird als Begleiter Friedrichs des Weisen auf dessen Pilgerfahrt ausgewiesen. Möglicherweise bedankten sich die Ketzel mit dieser Tafel für einen 1507 durch den Kurfürsten an die Brüder Georg II. und Wolff sowie deren Vettern Sebald d. J. und Martin d. J. verliehenen Wappenbrief. 2 Die Porträtreihe weist große Ähnlichkeit zu den Pilgertafeln der Familie Ketzel im Germanischen Nationalmuseum auf |Kat.-Nr. 70|. 3

The term "pilgrim" originates from the Latin word "peregrinus," meaning "stranger." In ecclesiastical Latin, however, the word acquired a new significance, referring to an individual who traveled abroad for religious reasons. Typically, these journeys were undertaken either on foot or using various modes of transportation to visit sacred sites. The motivations for such pilgrimages could include fulfilled penance, indulgences for sins, the fulfillment of vows, hope for divine intervention or healing, spiritual enrichment, or expressions of gratitude. The primary purpose of pilgrimage was to visit a location regarded as holy-such as a pilgrimage church, temple, or sacred tree. In the 4th century, following the cessation of Christian persecutions and the discovery of the "True Cross of Christ," interest among Christians in biblical sites-namely, the Holy Land-increased markedly. The term "Holy Land" itself also emerged in the 4th century, serving as a collective religious designation for the regions of Palestine, Israel, and often Jordan.

Tracing the devotional beliefs and practices of everyday people during the late Middle Ages through documents is tricky, as most were written with other purposes in mind. To make up for this, it is necessary to examine the abundant material culture that survives from this period. By analyzing a variety of finds and comparing them with well-known objects used by the upper classes, it becomes evident that ordinary people shared the same religious views and practices. Both classes were interested in pieces that inspired active devotional and amuletic practice. They were intended to be gazed at and handled, then rested on a tabletop or nailed to a wall. Some folded, some rang, some could be blown through, while others were gazed upon. Lower quality materials and production of pieces had no impact on their ultimate use in the home.

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).

La iglesia parroquial de San Esteban de Sos cuenta con un interesante repertorio documental que permite reconstruir su evolución histórica y artística, desde mediados del siglo XI hasta fines del XII. Conserva un singular y muy significativo conjunto de elementos arquitectónicos y escultóricos del románico pleno hispano. Destaca su configuración arquitectónica con triple ábside en dos niveles, iglesia baja o cripta por un lado e iglesia alta por otro, junto a una magnífica portada románica.

The dissertation deals with the hermits' places of retreat and pilgrimage to the rock hermitages they inhabited in Syria in the late antique-early Byzantine period. The cave or rock hermitages of the hermits did not serve exclusively as places of isolation, spiritual contemplation and prayer away from the world. Rather, they were also local, regional and supra-regional pilgrimage sites. The study of the written and archaeological sources not only makes it possible to better understand the hermitic way of life in the rock dwellings, but also to reconstruct the pilgrimage events in connection with the hermits in their rock hermitages.

The volume traces the history of the Capuchin convent of Fontevivo (Parma), founded by will of Duke Ranuccio I Farnese, who commissioned his court painter Bartolomeo Schedoni (1578-1615) to create paintings for the internal and external chapels of the church.

This research paper explores the lyrical and thematic connections between contemporary musician Hozier and English Romantic poets, with a focus on the interplay between sensuality and spirituality. Using William Blake's "The Garden of Love" and Hozier's "Take Me to Church" as central texts, the analysis traces a shared literary lineage in which institutional religion is critiqued and the body is reclaimed as a site of divine experience. The study argues that Hozier continues the Romantic project of transforming spiritual authority into a more personal, sensual, and rebellious form of transcendence.

The article is devoted to the publication of five clay pilgrim flasks found in ancient Parion in the course of recent excavations. Four of them belong to the so-called Asia Minor type and the fifth presumably belongs to the Egyptian type of the St. Menas group. The ampulla with a warrior saint is a rare type with only one parallel – a fragment from the excavations at Hierapolis. The miniature ampulla with a shell decoration has a counterpart in the Louvre collection. The ampulla with a circular body and a depiction of a cross, is similar in its essential features to those of the St. Menas group, although no exact parallel of it is known at present. The ampulla with the representation of two saints belongs to a widespread type: similar vessels were found in Smyrna, Ephesus, Aphrodisias, Knidos, Laodicea, and Ibida. The analysis of its iconography in comparison with the other specimens of the same type allowed to reject the view that one of the two figures represents a female character. Four variants of this type and two similar types featuring the representations of the same persons can be distinguished. This article questions the identification of the character on a well-known inscribed ampulla from Sardis as St. John the Baptist and proposes a new reading of the inscription on this ampulla. Comparing the Sardis ampulla with the type “Saint under the Arch – Young Saint” found on the ampulla from Parion, the article suggests that both characters should be identified as St. John the Theologian. This interpretation, combined with the recently discovered iconographic and epigraphic evidence, allows to conclude that the group of the Asia Minor ampullae was much more closely linked to the pilgrimage center of Ephesus and its central figure, St. John the Theologian, than it was previously thought.

The title alludes to the familiar Protestant hymn, whose imperial reach stretches from the Arctic to the Equator, from a Danish colony to a British one. Rhetorically, the hymn's 'inverted apostrophe' is extended by anaphora: these lands are not addressed by us, as 'O Greenland, O India'; rather, they and their barbaric people call us; they solicit our colonial attentions: From Greenland's icy mountains, From India's coral strand, Where Afric's sunny fountains Roll down their golden sand; From many an ancient river, From many a palmy plain, They call us to deliver Their land from error's chain.

Traduction française du texte de Franco Cardini : « Toscani verso Gerusalemme » in "De finibus Tuscie". Il medioevo in Toscana, Florence 1989, pp. 76-102 ; « Miscellanea storica della Valdelsa », XCI, sept-déc. 1985, pp. 263 76 ; AA.VV., Toscana e Terrasanta nel Medioevo, Firenze 1982 ; AA.VV., Studi di storia economica toscana nel medioevo e nel Rinascimento in memoria di Federico Melis, Pisa 1987, pp. 87-102.

The proposed study is an continuation of the research regarding the Czech mariology of the 19th century. After the methodological introduction, three parts are proposed: the first one containing an annotated bibliography of Czech Marian books from 1900 to 1910; the second one with a survey of articles from the revue AŒasopis katolickĂSho duchovenstva from these years; the third one containing an annotated bibliography of foreign Marian books translated into Czech over these years. The study is concluded by a synthetical review and evaluation of the mentioned Marian literature.

This is a biography of a visionary who realised his vision. The author, a retired judge, writes widely on Anglo-Catholic history. The Shrine of Our Lady of Walsingham has its devoted Church of Ireland followers. However, others may appreciate a brief explanation. During the middle ages the Holy House of Our Lady of Walsingham in Norfolk developed into one of the most popular pilgrimage sites in England, It originated in the late eleventh century in response to a vision to the lady of the Manor. It was destroyed in 1538, during Henry VIII's turbulent reign. Antiquarian interest remained. In the late 19 th and early 20 th centuries a series of vicars took the parish of Walsingham in an Anglo-Catholic direction. From his appointment as vicar in 1921 until his death in office in 1958, Alfred Hope Patten made his life's work the restoration, in effect the recreation, of the Shrine, so that Walsingham continues to draw Anglican, Roman Catholic and Orthodox pilgrims.

Вотивные практики от Средневековья до наших дней Москва Слово/Slovo 2022 Предисловие 6 Введение. Несчастья, дары и чудеса 12 Предметы: косточки, костыли и цепи 82 Модели: корабли, города и замки 106 Животные: кони, соколы и жабы 128 Части тела: глаза, ноги и торсы 146 Головы: безумие, травмы и плодородие 170 Младенцы: зачатие, роды и выживание 178 Фигурки взрослых: тела или души? 188 Восковые портреты: живые и мертвые 196 Вотивные картины: коммуникация с небесами 220 Иконография бедствий: болезни, насилие и стихии 238 Пространство даров: накопление и уничтожение 262 Заключение 284 Приложение. Дар святому и дар иконе: вотивные практики в России 296 Примечания 341 Библиография 355 Оглавление Редактор Анна Тарасова Дизайн книги Елизаветы Бабаевой УДК 7.0:2.5 ББК 85.03(0),003 М14

The Church of St. George in the village of Zlatolist in Bulgaria was built in 1853 during the Ottoman rule. The frescoes were created in 1876, as attested seven times in the inscriptions to certain scenes. The authors-the Minovi icon painters, popular in the region of southwestern Bulgaria at the time-often used historical symbolism, choosing to depict saints or rulers, protectors of the Bulgarian people. In Zlatolist, these are Sts. John of Rila and the apostles of the Slavs-the holy brothers Cyril and Methodius. The year of the April Uprising-1876-is historically important for Bulgaria and evokes unambiguous associations of the struggle for freedom. Repeated several times within the small space of the church, it also creates the potential for the birth of different interpretations of this fact.

The Qur'an manuscript preserved in the Golestan Museum in Tehran-of which only a few pages remain-is a rare and valuable artifact attributed to Imam al-Hadi (peace be upon him). Its verses are inscribed in two classical Arabic scripts: Kufic and Thuluth. The manuscript is adorned with intricate decorations and vibrant colors that exemplify the artistic brilliance of Islamic illumination, rendering the surviving pages a true masterpiece of Islamic art.

ελενη-αΘηνα αγγελη -ευρυδιΚη ΚατΣαλη -αλεξανδρα ΚωΣταρελλη, Ο ναός του Αγίου Γεωργίου Ακραιφνίου στη Βοιωτία. Συμβολή στη μελέτη της αρχιτεκτονικής του . . . . eleni-AthinA Angeli -evridiKi KAtsAli -AlexAndrA KostArelli, The church of Hagios Georgios in Akraifnio, Boeotia. A contribution to the study of its architecture . . . . ioAnnis perrAKis -stAvros MAMAlouKos -AthAnAsios KouMAntos, Byzantine and Post-Byzantine church architecture at Ainos

A medieval mold-made lead pilgrimage ampulla was retrieved in an underwater excavation in the port of ‘Akko. It exhibits molded ribbing, resembling a scallop shell or drawstring purse on one side, and an aniconic quatrefoil petal on the other. Such mass-produced,
budget-friendly, lead pilgrim ampullae are well-known in medieval Christianity, probably reflecting an insatiable desire for holy relics. Certain characteristics of the ampulla may suggest that it was locally produced in ‘Akko. In the Crusader period, ‘Akko was the major maritime gateway in and out of the Holy Land for European pilgrims, and the ‘Akko
ampulla may have arrived at the Holy Land carried by a pilgrim as an amulet.

Um den Thron im Aachener Dom ranken sich viele Geschichten, und Forscher aus verschiedenen Bereichen versuchen seit Generationen dem Rätsel auf die Spur zu kommen. Die Kernfrage hierbei ist, ob der Thron karolingischen oder ottonischen Ursprungs ist. Während konkrete Aussagen dazu in den schriftlichen Quellen fehlen, wurde und wird versucht jegliche Hinweise in den Quellen zu deuten, und auch der Thron und die Thronanlage selbst, wurden untersucht, wobei bisher keine eindeutige Antwort gefunden wurde. Der Artikel fasst die wesentlichen Ergebnisse zusammen und bietet Ansätze für weitere Forschungen. Neben spätantiken Vergleichsstücken wird konkret auch eine technisch-wissenschaftliche Materialuntersuchung in den Blick genommen, die einfach und kostengünstig durchgeführt werden könnte, bisher aber nicht erfolgte.

The account records kept by foundations for the poor provide an interesting source of information on cultural events, giving details on fees for licensed dances, benefit performances, and permission fees for itinerant artists. The custom has been established since the Josephinist legislation , regulating the closing time of inns and cafés, and banning certain sort of entertainment starting in 1772, and further introducing regulations on the use of yields from charity dances organized by foundations for the poor in 1794. During the period in question, a 1830 decree by the court office setting the rate for entertainment fees according to town populations was still in effect. Account records by the Pilsen Institute for the Poor (Armeninstitut) were kept, with some interruptions, over the period 1835–1850 (and up to 1914). They show not only the number of dances that Pilsen ( population of approx. 10,000 citizens at the time) managed to digest by the mid-19th century, but also changes in the social atmosphere around the tumultuous year 1848. We find there less evidence of street entertainment offered, but this gap in record was
successully filled by researching advertisements in the popular press of that time.

This case study uses five sixteenth-century Netherlandish travelogues of pilgrims to analyze how they experienced religious otherness in the Eastern Adriatic region and the Greek islands en route to the Holy Land. The region has not yet been much studied from this angle, thus the main aim of this study is to provide an impetus for future research comparing travel accounts coming from different traditions. While the five sources cannot truly be representative or generalizable for a conclusion, they did show that the Eastern Adriatic was described much more succinctly in many areas. The further one moved away from the known habitat of Catholicism, the more elaborate the descriptions become. The dichotomy between East and West is emphasized more strongly. Here, the East is not only to be understood as the Ottomans or the Islamic other, on the contrary, hardly anything is said about them and the focus is mainly on the similarities and differences to be found with the Greek or Orthodox faith. Consequently, one gets a much clearer picture of traditions and customs in Greek Orthodox churches than the religious traditions in Catholic churches in the Eastern Adriatic towns, where mere descriptions of relics, veneration of saints, and the like are mentioned. Reasons for this may include, on the one hand, the fact that the Eastern Adriatic region was possibly too similar to the pilgrims’ own Catholic traditions and therefore could not be of interest to potential readers if the pilgrims decided to publish their travelogue on their return. On the other hand, the Orthodox faith had such different ways and customs that this could prompt the pilgrims to emphasise religious otherness.

Today we are surrounded by maps of all sorts. As a result of their integration into everyday practices, cartographic images have become ever more ubiquitous and accessible. This pervasiveness has made the map the privileged medium for interrogating the transformation of our spatial consciousness and geographical imagination. But what is the relationship between our conceptions of spatiality and the medium of the map? And what does it mean to read the history od space through the lens of cartography?
The essays of this volume converge upon a fundamental point: a medium not only mediates between two or more elements but also remediates by appropriating the techniques, forms and social significance of other media.

Bamberg Cathedral, completed in the thirteenth century, was an apex of so-called late Romanesque art in the German territories of the empire. While the existence of models in Spain or France has been suspected since the 1920s, the degree of transregional influence has remained an open debate. Contributing to this debate, I suggest that Bamberg’s late Romanesque decoration and iconography had their models on a specific portion of the Way of St James, with Conques as its culmination. A small subset of these decorative elements are systematically associated with buildings that were under the direct influence of the Hohenstaufen dynasty, highlighting how the dynasty and Conques formed a complex institutional network that was driven by the pilgrimage of St James and that had a major influence on buildings in Bamberg, Sélestat and several other sites with a Hohenstaufen connection. The network possibly included Cluny and the Cistercians.

Bamberg Cathedral, completed in the thirteenth century, was an apex of so-called late Romanesque art in the German territories of the empire. While the existence of models in Spain or France has been suspected since the 1920s, the degree of transregional influence has remained an open debate. Contributing to this debate, I suggest that Bamberg’s late Romanesque decoration and iconography had their models on a specific portion of the Way of St James, with Conques as its culmination. A small subset of these decorative elements are systematically associated with buildings that were under the direct influence of the Hohenstaufen dynasty, highlighting how the dynasty and Conques formed a complex institutional network that was driven by the pilgrimage of St James and that had a major influence on buildings in Bamberg, Sélestat and several other sites with a Hohenstaufen connection. The network possibly included Cluny and the Cistercians.

An examination of the content presented in maps of the Holy Land over the centuries shows that the medium itself—the map of the Holy Land—proved to be highly flexible. With varying selections of sites and biblical references, maps of the Holy Land did not merely create different narratives; rather, they suggested diverse interpretations of the sacred topography, expressed different religious notions, and constructed entirely distinct religious messages.

In ancient Egypt, Mesopotamia, Greece, and Rome, practitioners of magic exploited symbolic words, images, and rituals to achieve desired outcomes through supernatural means. Using magical acts, they attempted to control supernatural powersgods, demons, spirits, or ghosts-to accomplish something beyond the scope of human capabilities. The exhibition Magic in the Ancient World, now at the Penn Museum, illuminates how different cultures used magic as a way of managing or understanding the present, controlling supernatural agencies, and seeing the future. This exhibition features objects from the Museum's rich collections of the Near East, Babylonian, Egyptian, and Mediterranean sections.

Beginning with a definition of the sacred as a twofold process of making things special, which consists of accentuation and affiliation, this essay proceeds to argue that things are made sacred in devotional piety and in fine art in parallel ways that configure images within webs of agents. The two kinds of imagery perform in practices of sacralization that move toward different ends. The production of aura is at work in each case, but operates with distinct aims. The essay then presents a historical account of fine art as a modern development tied to the rise of the nation-state, in which secularization extended to making art independent of religious institutions and patrons, allowing it to develop in a way that should be distinguished from devotional imagery. This does not mean that religion withers in the modern era, but that art developed its own mode of sacralization.

CONTINUAMOS EL CAMINO ARAGONÉS QUE ENTRA POR SOMPORT (LA VÍA TOLOSANA) YA EN NAVARRA, EN EL CORTO RECORRIDO ENTRE MONREAL Y PUENTE LA REINA PARA PERSEGUIR LOS HITOS Y LAS HUELLAS DE UNA DENSA PRESENCIA HIEROSOLIMITANA, CRUZADA Y PEREGRINA. QUE HA DEJADO EN LOS SIGLOS XII Y XIII UNA DENSA PRESENCIA DEVOCIONAL Y ARTÍSTICA QUE ES UN TRASVASE DE TIERRA SANTA AL OCCIDENTE HISPANO Y CUYO FOCO ORIGINAL ESTÁ EN LA CONSTANTINOPLA IMPERIAL CRISTIANA.

In den Jahren 1662–1664 absolvierten drei Brüder der Familie Šternberk – Václav Vojtěch [Wenzel Adalbert von Sternberg] (1643–1708), Jan Norbert [Johann Norbert] (etwa 1644–1678) und Ignác Karel [Ignaz Karl] (etwa 1646–1700) eine Kavalierstour durch West- und Südeuropa. Während der Reise beauftragten sie einen der Diener aus ihrem Gefolge mit dem Schreiben eines Reisetagebuchs, und zwar Daniel František Táborský (etwa 1640 – nach 1692) aus Horažďovice [Horaschdowitz], der erwähntes Tagebuch auf Tschechisch führte, vermutlich damit es nach ihrer Heimkehr auch die Mutter und Schwestern der jungen Šternberkbrüder lesen konnten. Daniel František Táborský war ein Sohn des Hauptmanns der Grundherrschaft Horažďovice, die seit dem Jahr 1622 der Familie Šternberk gehörte. Im Jahr 1658 absolvierte er ein Philosophiestudium an der Prager Universität und hatte sich 1662 zusammen mit Graf Václav Vojtěch von Šternberk, dessen persönlicher Kammerdiener er war, auch an der Universität in Löwen immatrikuliert. Nach der Rückkehr von ihrer Reise blieb Daniel František Táborský im Dienst des ältesten Bruders der Šternberks, erlangte den Rang eines Hauptmanns der Grundherrschaft Zelená Hora [Grünberg], die bei der Eigentumsaufteilung zwischen den Brüdern im Jahr 1665 Václav Vojtěch von Šternberk zugesprochen wurde, und auch den Titel eines Wirtschaftsinspektors des Šternbergschen Landbesitzes. Schließlich wurde ihm sogar das Adelsprädikat von Hirsch(en)feld erteilt, das zum ersten Mal in einem Vertrag zu einem großen Haus beziehungsweise zu einem Hof auf der Verbindungsstrasse zwischen Nepomuk [Pomuk]
und dem Schloss Zelená Hora [Grünberg] erwähnt wird. Der Hof wurde 1672 für ihn von Graf Václav Vojtěch mit verschiedenen Privilegien ausgestattet. Späterbetrieben die Táborští von Hirsch(en)feld in diesem Haus (heute Zelenohorská 76, Nepomuk) eine erbliche Post.

Se estudian  dos laberintos de letras que aparecen como frontispicios en las copias del siglo x al Comentario al Apocalipsis de Beato de Liébana. Desde una perspectiva que se vuelca hacia la función de este diagrama dentro del libro objeto al que pertenece, se busca establecer los modos de la lectura que involucran más operaciones del cuerpo y de la mente de los que se requieren para leer o para escuchar una lectura. Asimismo, desde una mirada basada en la idea del Nachleben warburgiano, se buscan las señales que dan cuenta de los orígenes escondidos de las imágenes que son parte constitutivas de estos diagramas.

bros y colaboradores del IPCE, centrados en la indumentaria, la primitiva fachada occidental catedralicia, los materiales constructivos y la propia edificación del pórtico. Las dos últimas aportaciones de esta sección, redactadas por Víctor López y Montserrat Lasunción, analizan el procedimiento y

In 2017, Pope Francis issued the Apostolic Letter Sanctuarium in Ecclesia, explaining the need for pastoral care for shrines as “powerhouses of the New Evangelization”. This was further developed with the Pontiff’s special section on evangelization in his newly issued Apostolic Constitution Prædicate Evangelium in 2022 by calling shrines “dynamic centers of continuing evangelization”. These documents summarize the teaching of the Catholic Church on shrines beginning with the 1983 Code of Canon Law. And what is new in these documents is the pontiff’s call to “promote an organic pastoral ministry of Shrines as the powerhouse of the new evangelization” (SIE, no. 5c). This was strengthened in Prædicate evangelium with the task to ensure the promotion of an organic pastoral care of Sanctuaries ” (PE, 2022, no. 56, § 2). This “organic pastoral ministry” corresponds to forming a special ministry to promote the shrine and its devotion through catechesis of pilgrims. This paper developed from my book entitled “The Role of Shrines in view of the New Evangelization” published. in 2021. This summarizes the Church’s regard for shrines into seven (7) aspects of Shrinehood in the New Evangelization: 1.) Worship, 2.) Proclamation and Witnessing, 3.) Devotion, 4.) Catechesis, 5.) Charitable Work, 6.) Spiritual Ecumenism, and 7.) Culture. This work not only presents doctrinal teaching on this matter, but also some pastoral samples of a number of shrines in the Philippines in aiding the “pilgrimage experience” of pilgrims venturing for encounters with God. This will also present how the devotion of a pilgrim should develop from pious prayer to pastoral action. This was presented by the author as an academic paper presentation during the 10th National Conference on Catechesis and Religious Education hosted by the De La Salle University – Department of Theology and Religious Education and the Religious Educators Association of the Philippines (June 24-25, 2022). Additional notes were added by the author in revisions he made of the text.

Stones play a central role in the three monotheistic religions in local legends whose theme is sacred space. The purpose of this article is to note some of the representations of the stone in sacred space in the Jewish narrative tradition, as well as to draw attention to some of its parallels in Islam and Christianity. In all these narrative traditions, both Jewish and non-Jewish, stones have a function in giving presence to the sanctity residual in a place, in the marking of the sacred place, and in creating a connection between the sacred place and other holy places in that culture. In particular, I will focus on the three-way relationship between the stonethe city of Jerusalem-the Temple and their abstract manifestations in the stories that describe them, which can be de78ned as: sacred object-sacred space-sacred structure. The sacred structure is built of sacred objects and is located in the sacred space, and reciprocally: the sacred space makes the building sacred as well as the objects of which it is built. This triangular connection exists in the Jewish narrative tradition, which describes two temporal states: the 78rst state begins with the creation of the world until the construction of the Temple and the period when it stood. The second temporal state is from the time of the destruction of the Temple until the end of days. The crisis event between these two periods of time is the traumatic destruction of the Temple. In all the narrative traditions, a clear distinction is made between what happened before the crisis and what happens after it, particularly with regard to the sacred object, i.e., the stone, which in9:uences and is in9:uenced by the structure and the space. Thus, for example, before the destruction the stone is stationary and located in Jerusalem on Mount Moriah. After the destruction, the stone is mobile and travels through many places along with the communities of the exiles. The characteristic of mobility that the stone takes on turns it into an emblem of the Jewish people wandering in exile. Likewise, before the destruction, the stone is of one piece. After the destruction, the single stone splits into many stones. The metaphor of this split also represents the fate of the Jewish people.

Mordechai Narkiss (1897Narkiss ( -1957)), the first and long-serving curator of the Bezalel Museum in Jerusalem, was a pioneering scholar in Jewish art history. His significant contributions to the field are epitomized by his insightful critiques, written in Hebrew, of the leading scholars in his era. Narkiss's rigorous reviews, reinforced by his deep immersion in Jewish tradition and extensive knowledge of the visual arts across various cultures, adeptly identified errors, unfounded assumptions, and methodological shortcomings. He underscored the importance of a solid foundation in both Judaism and art history. This article explores six of Narkiss's critical reviews of seminal works

The Tabgha mosaics, adorning the floor of a basilica dated between the 5th and 7th centuries near the Sea of Galilee, have been a frequent subject of scholarly discourse. Nevertheless, many unsettled issues surrounding the pavements, such as palaeographic differences in inscriptions commemorating their patrons, unidentified Byzantine-repaired mosaic sections, and modern restorations, have yet to be investigated. These unexplored matters render the stages and authenticity of the Tabgha mosaic insufficiently established. This study examines the phases of the Tabgha pavements during the Byzantine period through an in-depth analysis of their stylistic features while considering the modern repairs. The author concludes that significant evidence was removed from the floors during an early 20th century restoration. By carefully ‘reading’ between the tesserae of the Tabgha mosaics, this study illuminates small and scarcely noticeable details that make it possible to distinguish three Byzantine mosaic stages and to evaluate the individual contributions of the patrons to the pavements.