Medieval Art Research Papers - Academia.edu

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Medieval Art
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Medieval Art refers to the visual arts produced in Europe during the Middle Ages, approximately from the 5th to the late 15th century. This period encompasses a variety of styles and media, including illuminated manuscripts, sculpture, painting, and architecture, reflecting the cultural, religious, and social dynamics of the time.
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About this topic
Medieval Art refers to the visual arts produced in Europe during the Middle Ages, approximately from the 5th to the late 15th century. This period encompasses a variety of styles and media, including illuminated manuscripts, sculpture, painting, and architecture, reflecting the cultural, religious, and social dynamics of the time.
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LORETTA VANDI Renaissance Quarterly 79 1 2026 Review of Eufrasia Burlamacchi
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Loretta Vandi
2026, Renaissance Quarterly
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Indus Script Dictionary--Meluhha deśī bhāṣā ‘Indian sprachbund’ (language union)
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Srinivasan Kalyanaraman
2026
kol śālikā 'village of smelter artificers’ – M-295 > a suffix in compounds சாலி² cāli , n. < šālin ‘shining, excellent’ -- Semantics of the suffix in many languages point to the fact that ancient Bharat was a sprachbund ‘language union’...
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kol śālikā 'village of smelter artificers’ – M-295 > a suffix in compounds சாலி² cāli , n. < šālin ‘shining, excellent’
-- Semantics of the suffix in many languages point to the fact that ancient Bharat was a sprachbund ‘language union’ with the root semantics traced to śālám adv. 'at home’ (ŚBr.)
சாலி² cāli , n. < šālin. Word meaning possessor, used at the end of compounds, as in புத்திசாலி, பாக்கியசாலி; உடையவன் உடையவள் என் னும் பொருளுடன் தொடர்மொழியிறுதியில் வரும் பதம்.
Śālin possessing, abounding in, full of, possessed of, amply provided or furnished with, conversant with, distinguished for, MBh.; Kāv. शालिन् śālin a. (-नी f.) (usually at the end of comp.) 1 Endowed with, possessed of, possessing, shining or resplendent with; अलघूपलपङ्क्तिशालिनीः परितो रुद्धनिरन्तराम्बराः Śi.16.76; Ki.2.31;7.28,55;8.17; विलासिनीनां स्तनशालिनीनामलंक्रियन्ते स्तनमण्डलानि Ṛs.4.2. -2 Domestic. -3 Well-behaved; दयालुः शालिनीमाह शुक्लाभिव्याहृतं स्मरन् Bhāg.3.24.1.(Apte) Sālin, excellent Dāvs. I, 9. (Page 706) (Pali) Śālin (शालिन्).—i. e. śālā + in, I. adj., f. nī. 1. Belonging to a house, domestic. 2. Endowed with, [Kathāsaritsāgara, (ed. Brockhaus.)] 46, 107; [Kirātārjunīya] 5, 32; possessed of, having, [Pañcatantra] v. [distich] 12. 3. Shining or resplendent with. --Shabda-Sagara Sanskrit-English Dictionary; शालीन [śālīna].—adj. serene; mild; modest; well-behavretiring, humble, modest, diffident.ed (Nepali) ಶಾಲೀನ śālīna. attached to the house or to one's own room; ಶಾಲಿ śāli. 1. belonging to a house. 2, endowed with, possessed of, possessing, having (My.). 3, shining or resplendent with, excellent. ଶାଳିନୀ— Ṡāḻinī (ଶାଳୀ—ପୁଂ)ସଂ. (feminine) A suffix added to another word to denote 'having’ (Oriya) śā́lā f. 'shed, stable, house' AV., śālám adv. 'at home' ŚBr., śālikā- f. 'house, shop' lex.Pa. Pk. sālā- f. 'shed, stable, large open-sided hall, house’ (CDIAL 12414)
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Tabernacles valaisans du premier quart du XVIIe siècle (Sion, Saint-Maurice, Savièse, Vex)
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Gaetan Cassina
2026, Annales valaisannes : bulletin trimestriel de la Société d'histoire du Valais romand
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Notes sur l'activité en Bas-Valais de Giorgio Bernardi et Gerolamo Roncho, sculpteurs ossolans du XVIIe siècle
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Gaetan Cassina
2026, Vallesia : bulletin annuel de la Bibliothèque et des Archives cantonales du Valais, des Musées de Valère et de la Majorie = Jahrbuch der Walliser Kantonsbibliothek, des Staatsarchivs und der Museen von Valeria und Majoria
GASSINA L'existence de sculpteurs ossolans, attestés du XVI e au XVIII e siècle et constituant ce qu'il est convenu d'appeler une école, est connue depuis quinze ans seulement *. Sans prétendre bouleverser l'histoire de l'art des régions...
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GASSINA L'existence de sculpteurs ossolans, attestés du XVI e au XVIII e siècle et constituant ce qu'il est convenu d'appeler une école, est connue depuis quinze ans seulement *. Sans prétendre bouleverser l'histoire de l'art des régions alpines, cette découverte récente fait justice d'anciennes hypothèses, qu'on avait progressivement érigées en dogmes. Ainsi, les retables baroques de l'Ossola, longtemps regardés comme suisses 2 , étaient naguère encore considérés comme influencés directement, sinon exécutés par des maîtres valsésiens s . Or, quelle que soit son évidente parenté avec l'art des régions voisines, la sculpture sur bois ossolane témoigne d'une autonomie certaine dans son caractère et dans son développement. Et si, à la fin de l'époque gothique, l'Ossola, aussi bien que le Valsesia, importe du nord ses retables d'autels 4 , Abréviations : A ASM :
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Le buste-reliquaire gothique de saint Maurice à Bagnes
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Gaetan Cassina
2026, Vallesia : bulletin annuel de la Bibliothèque et des Archives cantonales du Valais, des Musées de Valère et de la Majorie = Jahrbuch der Walliser Kantonsbibliothek, des Staatsarchivs und der Museen von Valeria und Majoria
Le buste-reliquaire gothique de saint Maurice à Bagnes Gaëtan CASSINA en collaboration avec Théo-A. HERMANÈS et Christiane TERRISSE -DE WECK Tout le monde à Bagnes connaît le buste-reliquaire en bois polychrome que l'on porte en...
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Le buste-reliquaire gothique de saint Maurice à Bagnes Gaëtan CASSINA en collaboration avec Théo-A. HERMANÈS et Christiane TERRISSE -DE WECK Tout le monde à Bagnes connaît le buste-reliquaire en bois polychrome que l'on porte en procession à la Saint-Maurice, fête patronale. Mais, sous de malencontreux repeints (PL 2 a), l'objet de culte populaire ne laissait guère deviner une oeuvre d'art médiévale, remise en valeur aujourd'hui grâce à une scrupuleuse restauration (PL 1) 1 . Pourtant, nous devons vraisemblablement à son apparence naguère ingrate sa conservation durant plus de cinq siècles à l'église paroissiale de Bagnes. En effet, la découverte des richesses artistiques du Valais, entre 1850 et 1900, par les Blavignac, Wick, Aubert, Rahn et autres Ritz entraîna bien involontairement une chasse presque systématique aux trésors du passé, aux « antiquités ». Son aspect rébarbatif et, conséquence probable, son omission dans les publications des pionniers précités auront préservé le buste-reliquaire de Bagnes d'une dangereuse notoriété 2 . Ainsi, par exemple, lui furent épargnées les pérégrinations impressionnantes au terme desquelles, heureuse exception, le chef-reliquaire roman de saint Pierre, provenant de Bourg-Saint-Pierre, a regagné le Valais 3 . Comme celui-ci, saint Maurice appartient à une famille valaisanne bien connue : la branche aînée, romane, avec le chef-reliquaire de saint Candide 4 1 Intégré au programme de restauration globale de l'église paroissiale de Bagnes, actuellement en cours et subventionnée par le canton et la Confédération, le traitement du buste a été confié à l'atelier GREPHART, Le Lignon/GE, dirigé par M. Théo-A. Hermanès, auteur, avec M mc Christiane Terrisse-de Week, sa collaboratrice, du précieux rapport publié infra, Annexe 1. 2 A Bagnes même, un reliquaire inventorié au moyen âge déjà, et dessiné par Emil Wick dans son manuscrit (entre 1864 et 1868) conservé à la Bibliothèque publique de l'Université de Bâle (AN VI 50), a disparu depuis lors...
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Tabernacles valaisans du premier quart du XVIIe siècle (Sion, Saint-Maurice, Savièse, Vex)
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Gaetan Cassina
2026
par Gaëtan CASSINA A la mémoire du chanoine Léo Müller (décédé le 21 mai 1979) Officiellement instituée dans le diocèse de Sion par les Constitutions et décrets synodaux de 1626 1, soit plus de cinquante ans après le Concile de Trente...
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par Gaëtan CASSINA A la mémoire du chanoine Léo Müller (décédé le 21 mai 1979) Officiellement instituée dans le diocèse de Sion par les Constitutions et décrets synodaux de 1626 1, soit plus de cinquante ans après le Concile de Trente (1.545-1563) dont elle émane, la contre-réforme y avait pris pied dès le début du XVII e siècle avec les missions volantes des Capucins de la province de Savoie, dont l'action paraît avoir été décisive pour mettre un terme aux luttes confessionnelles qui avaient marqué le Valais durant toute la seconde moitié du XVI e siècle 2 . Mais, pour des raisons qui restent à étudier, l'adoption des nouvelles mesures édictées en 1626 s'effec tue plus ou moins rapidement, selon les endroits, ainsi qu'il appert des procès-verbaux de visites pastorales, au cours du XVII e siècle 3 . Pour essayer de comprendre ces différents retards par rapport à des régions catholiques voisines, il faut certes tenir compte de la vive résistance offerte par les partisans de la Réforme qui se recrutaient alors dans les meil leures familles, à Sion et à Loèche principalement, sans oublier toutefois
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Art, Literature, Manuscripts, Architecture – An Emperor Wants to be Remembered: Emperor Maximilian and the Ambraser Helden Buch, with a Focus on Mauritius Von Craûn
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Albrecht Classen
2026, Current Research Journal of Social Sciences and Humanities
Memory and memoria are closely related to each other, but the latter constitutes the physical, mostly public manifestation of the self through art works, writing, musical compositions, buildings, and the like. After a reflection on the...
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Memory and memoria are closely related to each other, but the latter constitutes the physical, mostly public manifestation of the self through art works, writing, musical compositions, buildings, and the like. After a reflection on the current research pertaining to both aspects, this article deals with the famous Ambraser Heldenbuch compiled by Hans Ried for Emperor Maximilian I (1504–1516) as a collection of major medieval German narratives. In particular, the focus rests on the most unique verse novella, Mauritius von Craûn (ca. 1220) where knighthood and courtly love seem to reach their apogee but then abruptly fail. In an odd way, even this rather deconstructive piece of literature, preserved only in this very late manuscript, obviously contributed to Maximilian’s great effort to secure his gedechtnus, the memory by posterity of his glory and accomplishments. However, there is also a great sense of the precarious nature of this goal, hence of memoria. To understand late medieva...
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E. LERCO, N. MANCASSOLA, Lo scavo archeologico della cripta, in San Severo. Nuove scoperte e storia del restauro, a cura di M. Valdinoci, Verona, 2025, pp. 87-105
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Nicola Mancassola
2026
Questa pubblicazione è stata possibile grazie ai contributi nanziati con fondo per l'anno 2021 a sostegno delle piccole e medie città d'arte e dei borghi colpiti dalla diminuzione dei ussi turistici dovuta all'epidemia di Covid-19.
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karkoli ‘blacksmith miscellaneous iron articles’— khār, kollë ‘blacksmith, smelter’ khār kolel ‘blacksmith, smithy-forge’– Sign 184 variants
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Srinivasan Kalyanaraman
2026
Ladakh carving on rock of Sign 184 variant கருங்கொல்லன் karu-ṅ-kollaṉ , n. id. +. Blacksmith; கருமான். கொல்லன் kollaṉ , n. கொல்². [M. kollan.] Blacksmith; கருமான். மென்றோன் மிதியுலைக் கொல்லன் (பெரும்பாண். 207). krammara ‘look back’...
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Ladakh carving on rock of Sign 184 variant
கருங்கொல்லன் karu-ṅ-kollaṉ , n. id. +. Blacksmith; கருமான். கொல்லன் kollaṉ , n. கொல்². [M. kollan.] Blacksmith; கருமான். மென்றோன் மிதியுலைக் கொல்லன் (பெரும்பாண். 207).
krammara ‘look back’ rebus: kamar ‘smith’
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Simone Caldano - Pubblicazioni (2005-2026)
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Simone Caldano
2026
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Töredékek a váradi püspöki székhely gótikus periódusából. Észrevételek a Szent László-torzó és a kőtári anyag kapcsán.
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Emodi Tamas
2026, Szent László országa.
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Un orientalismo devozionale? A proposito di tessuti fatimidi diventati reliquie cristiane
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Nicolas Sarzeaud
2026, Gaetano CURZI et Marco D'ATTANASIO (dir.). La circolazione di manufatti preziosi in età angioina tra Oriente e Occidente, Roma, Campisano
Entre le XIXe et le XXIe siècle plusieurs textiles conservés dans les églises latines comme des reliques furent identifiés comme des étoffes islamiques, à la faveur du déchiffrement d'inscriptions coufiques. Deux cas emblématiques furent...
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Entre le XIXe et le XXIe siècle plusieurs textiles conservés dans les églises latines comme des reliques furent identifiés comme des étoffes islamiques, à la faveur du déchiffrement d'inscriptions coufiques. Deux cas emblématiques furent produit sous un même calife fatimide, à la fin du XIe siècle, et devinrent l'un le Suaire du Christ à Cadouin et l'autre le Voile de sainte Anne à Apt. Ce papier propose de faire l'histoire du regard porté sur ces étoffes et leurs inscriptions depuis le Moyen Âge, et en les replaçant dans le contexte plus large de la présence, dans la culture visuelle latine, d'inscriptions coufiques réelles ou imitées et s'intéresse aux moments dans lesquels la facture orientale est repérée par les acteurs et présentée comme un argument en faveur de leur authenticité. Il pose ainsi la question d'une forme d’ « orientalisme dévotionnel » qui pourrait participer à expliquer la surreprésentation de ce type d'étoffes dans les églises d'Occident depuis l'époque médiévale.
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lo travo di lo crucifixo". L'esposizione e l'uso della croce negli edifici di culto siciliani fra il Regnum Normanno e il Concilio di Trento (1149-1555)
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Giuseppe Fazio
2026
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The influence of Petrarch on Coluccio Salutati’s Liber de Schismate (Prague, April 22-25, 2026)
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Lorenzo Geri
2026
The Florentine humanist and man of state Coluccio Salutati (1332-1406) expressed his ideas on the Western Schism in many relevant public and private letters addressed to members of the high clergy, princes, jurists, Florentine...
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The Florentine humanist and man of state Coluccio Salutati (1332-1406) expressed his ideas on the Western Schism in many relevant public and private letters addressed to members of the high clergy, princes, jurists, Florentine politicians, and humanists. Dating from 1378 to 1406, such an extensive corpus, including some of the most eloquent descriptions of the shock caused by the split of the Church into two conflicting parts,  has been studied primarily regarding the first phase of the Schism. In particular, the vibrant letter addressed to the French Cardinals gathered in Fondi in the late summer of 1378 was analysed from the point of view of Salutati's support of Bartolomeo Prignano and his deep knowledge of canonical law. The letter, indeed, shows how Salutati, after his experience in the so-called War of the Eight Saints (1375-1378), connected the Schism with a fight of Italians against what he called Gallica tyrannis. In particular, the election of Robert of Geneva, the man who devasted the Florentin State when he was the papal legate in upper Italy from 1376 to 1378, as the antipope Clement VII, inspired a very keen opposition to Avignon obedience, expressed in another famous epistola, the letter addressed to Pietro Corsino on February 3, 1380.
Scholars paid less attention to later letters on the Schism. Nonetheless, among them, we find a masterpiece:  the epistola addressed to Innocent VII in January 1405. The letter is a solemn suasoria, deeply inspired by Sen. VII 1 and IX 1, trying to convince Cosimo de' Migliorati to proclaim the council to resolve the Western Schism and be ready to renunciate to his throne in exchange for the end of the Schism.
Salutati clearly stated the importance of his epistolae as a contribution to the end of the Schism. In his letter to Cardinal Bartolomeo Oliari (Agust 1, 1395), for instance, whilst he refused the suggestion of selecting his correspondence in order to create a book similar to Petrarch’s Famialiares, being his letters unimportant, he nonetheless admitted that he would like to write on the end of the Schism some critical letters that could, on the contrary, deserved to be published. This idea was eventually realized in February 1406 when Salutati sent to Francesco Bruni, the Papal Secretary, a collection of his most important letters de schismate to contribute to Clement VII’s policy. Even if the book reached the Roman Curia, the only witness of the collection is the manuscript 1222 C of the Biblioteca Riccardiana of Firenze, the personal copy of Salutati.
My paper will analyse the influence of Petrarch’s Seniles and Sine nomine on Salutati’s Liber de schismate, the only collection of letters authorized by Salutati and, at the same time, his political and religious spiritual will. I will, in particular, stress the attempt by the Florentin humanist to influence the debate in the papal Curia directly, an attempt deeply inspired by Petrarch’s attitude toward Urban V. Indeed, the letter to Innocent VII mentioned above, the last letter in the Liber de schismate, is deeply inspired by Petrarch communication with Guillaume de Grimoard and his cardinals.
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Gestión del Museo de Historia de Alcañiz y Territorial del Bajo Aragón
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Carmen Morte García
2026
Proyecto dedicado a la creación del Museo de Historia de Alcañiz y Territorial del Bajo Aragón, centrado en la musealización, gestión, catalogación y difusión de varias colecciones de arte del territorio, tanto de titularidad pública como...
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Proyecto dedicado a la creación del Museo de Historia de Alcañiz y Territorial del Bajo Aragón, centrado en la musealización, gestión, catalogación y difusión de varias colecciones de arte del territorio, tanto de titularidad pública como privada. Pretendemos que el proyecto museográfico se desarrolle en la antigua Iglesia del Convento de las Dominicas de Alcañiz, edificio desacralizado y de titularidad municipal. El museo contará con obras procedentes de la Colección del Ayuntamiento de Alcañiz y las atesoradas en la Colección particular Ángel Quílez. Estas colecciones forman un interesante y heterogéneo conjunto con la representación de diversos períodos del arte occidental, desde la antigüedad pasando por testimonios medievales, del Renacimiento y Barroco. Esperamos que la creación de este museo como espacio de difusión cultural, genere la afluencia de visitantes tanto oriundos de la comarca, como del ámbito de la comunidad autónoma de Aragón, o del nacional
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Das NOMINA-Projekt: Sprache und Magie in der gräko-ägyptischen Welt
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Panagiota Sarischouli
2026, Heidelberg Alumni International – Zeitschrift der Altertumswissenschaften 1
Liebe Mitglieder, liebe Leser:innen, es ist mir eine Freude, Ihnen die erste Ausgabe der HAI-ZAW präsentieren zu dürfen. Die Heidelberger Altertumswissenschaften zeichnen sich durch ihre Vielfalt aus -von der Ägyptologie bis zur Ur-und...
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Liebe Mitglieder, liebe Leser:innen, es ist mir eine Freude, Ihnen die erste Ausgabe der HAI-ZAW präsentieren zu dürfen. Die Heidelberger Altertumswissenschaften zeichnen sich durch ihre Vielfalt aus -von der Ägyptologie bis zur Ur-und Frühgeschichte, von der Klassischen Philologie bis zur Papyrologie. Diese Zeitschrift soll genau das widerspiegeln: ein Forum, in dem unterschiedliche Perspektiven auf die antiken Kulturen zusammenkommen. Die vorliegende Ausgabe zeigt diese Bandbreite eindrücklich. Polly Lohmann gewährt einen Blick hinter die Kulissen der Heidelberger Antikensammlung. Pagona Sarischouli stellt das NOMINA-Projekt vor, das Sprache und Magie in der gräko-ägyptischen Welt erforscht. Weitere Beiträge widmen sich der digitalen Rekonstruktion historischer Gebäude, der Emotionsforschung in antiken Texten oder der spätantiken Landschaftsarchäologie -um nur ein paar zu nennen. Ich danke allen Autor:innen für ihre Beiträge -und Ihnen fürs Lesen. Ein besonderer Dank gilt Herrn Quaranta, der 2021 den Alumni-Club für Klassische und Byzantinische Archäologie ins Leben gerufen hat und damit einen wichtigen Grundstein für das Netzwerk legte, aus dem diese Zeitschrift hervorgegangen ist. Ich lade Sie herzlich ein, dieses Netzwerk aktiv mitzugestalten. Das interdisziplinäre Netzwerk für alle aktuellen und ehemaligen Wissenschaftler:innen der Altertumswissenschaften an der Universität Heidelberg.
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Religion og fiendbilder : læstadianismen, statskirken og kvenene 1870-1940
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Rolf Larsen
2026
Norges offentlige utredninger NS Nasjonal samling RA Riksarkivet RHD Registreringssentralen for historiske data Rom. Paulus brev til romerne SA Samisk arkiv SATØ Statsarkivet i Tromsø UD Utenriksdepartementet Åp. Johannes åpenbaring Dette...
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Norges offentlige utredninger NS Nasjonal samling RA Riksarkivet RHD Registreringssentralen for historiske data Rom. Paulus brev til romerne SA Samisk arkiv SATØ Statsarkivet i Tromsø UD Utenriksdepartementet Åp. Johannes åpenbaring Dette leder videre til spørsmål om hvordan og hvorfor fiendebildet og eventuelle motbilder ble konstruert. Hvordan taklet prestene og biskopene sin rolle i krysspresset mellom "Gud og Keiser", mellom det åndelige og det sekulaere oppdrag? Og hvilke teologiske laerespørsmål var viktige i statskirken og laestadianismen i undersøkelsesperioden? I perioden 1870-1940 var nasjonsbygging tuftet på kulturnasjonalisme et vesentlig redskap i norsk integrasjonspolitikk. Et ledd i denne politikken var assimilering av minoritetene i Norge. I Nord-Norge, og saerlig i Nord-Troms og Finnmark, fikk dette spesielt konsekvenser for kvenene og samene, da de bodde i grenseområdene mot Russland og Finland, områder som ble betraktet av myndighetene som utsatte i nasjonalt og utenrikspolitisk henseende. Den norske kirke hadde en dobbeltrolle i det nordnorske samfunnet, som redskap i norsk assimilasjonspolitikk, også kalt fornorskningspolitikk (se 1.5.4), og som misjonerende kirke. 2 Dobbeltrollen ble blant annet synlig i språkpolitikken hvor geistligheten på den ene siden ønsket å gjøre kirkens budskap forståelig, noe som forutsatte bruk av tilhørernes morsmål, og på den andre siden var delansvarlig for gjennomføringen av assimilasjonspolitikken i skolen. Laestadianerne var medlemmer av Den norske kirke og var lutherske kristne, men de tolket enkelte lutherske dogmer anderledes enn statskirken og var, til tross for medlemskapet, gjennomgående statskirkekritiske. Laestadianisme er en betegnelse på kristne grupper som knytter sin kristendomsforståelse til en religiøs vekkelse som oppstod rundt den nordsvenske presten Lars Levi Laestadius. Utbruddet for denne vekkelsen fant sted på 1840-tallet i svensk Karesuando, og vekkelsen spredte seg snart over store deler av Nordkalotten med kvenenes og reindriftsamenes flyttinger og ved predikantvirksomhet. Et karakteristisk kjennetegn for laestadianismen i den tidlige fase var "rørelsen", på kvensk liikkutuksia, på samisk lihkadus, som var en form for ekstatisk adferd. 3 Denne oppstod under møtene og gav seg ulike uttrykk, som høylytt klage og gråt over egen synd, bønn om tilgivelse og omfavnelser, lovprisning av Gud for hans frelsesgjerning eller at deltakere i forsamlingen begynte å hoppe eller løpe rundt i lokalet. Den laestadianske selvforståelsen var 9
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Illustration Details [Article 'Adapting to the Athonite Visual Tradition']
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Nikolaos Dionysopoulos
2026
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The Evil Eye Stone at Ireland's Kilkea Castle, the ancient apotropaic "All-Suffering Eye" motif, and the Sheela-na-Gig
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Lloyd Graham
2026, Direct release to Academia.edu
An unusual stone-carved tableau in the external wall of the guard-room of Kilkea Castle, Co. Kildare, is named for its reputed function of repelling the Evil Eye. An underappreciated reality is that its components clearly sit within the...
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An unusual stone-carved tableau in the external wall of the guard-room of Kilkea Castle, Co. Kildare, is named for its reputed function of repelling the Evil Eye. An underappreciated reality is that its components clearly sit within the Romanesque tradition of Norman corbel grotesques. As a whole, though, this medieval ensemble from the western extreme of Europe has visual overlaps with an ancient template from the Eastern Mediterranean which likewise opposes the Evil Eye. One example of this "All-Suffering Eye" template, namely a mosaic from a Roman villa in Antioch, predates the Irish composition by a millennium or more. There is a long-standing Irish belief that Sheela-na-Gig statues are similarly intended to counter the Evil Eye. Since the Sheela's open vulva has the shape of an eye, albeit one rotated through 90°, some of her anti-Eye power may derive from sympathetic magic. An epilogue explores conceptual antecedents to the Sheela-na-Gig in Anatolian Neolithic art.
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Philip Cottrell, 'John Donne, Undone, Redone: The John Donne Monument Reconsidered' Offprint from: DEATH, BURIAL, AND THE AFTERLIFE
by
Philip Cottrell
2026, DEATH, BURIAL, AND THE AFTERLIFE
Nicholas Stone's effigy of John Donne (1572-1631) in St. Paul's Cathedral, London (figs. 2.1 and 2.2) is a strange and elegant example of seventeenth-century English tomb sculpture. Although upright, Donne appears enveloped in a...
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Nicholas Stone's effigy of John Donne (1572-1631) in St. Paul's Cathedral, London (figs. 2.1 and 2.2) is a strange and elegant example of seventeenth-century English tomb sculpture. Although upright, Donne appears enveloped in a body-hugging burial shroud gathered into two frilly ruffs at the head and feet. Only the face, with its shuttered eyelids, raffish beard, and benign, half-smiling expression, manages to breach this unsettling cocoon. The clean, moist appearance of the drapery and the softly-nuanced modelling of the features testify to Stone's position as the finest sculptor of the English Baroque. 2 But as the figure totters out of its niche, precariously balanced on the lip of a classical funerary urn, it inevitably recalls the outlandish attitudes of the busking 'living statues' which are now a mainstay of the busy high street -a not so glib analogy given that the dying Donne seems to have personally modelled for the monument, clad in his own winding sheet and standing on an urn-shaped box. Surprisingly, only three writers -all Donne scholars -Nigel Foxell, Helen Gardner and, more recently, R.S. Peterson, have given serious, prolonged thought to the statue's appearance and development. Peterson in particular has compiled an impressively thorough analysis of the monument's later history, and intends to publish more at the time of writing. With this in mind, the following essay merely wishes to offer some thoughts on the broader art-historical context of the statue, as a preface to further research. Its relationship to transi tomb iconography and the intimate role played by art in the deathbed rituals of the period are of particular interest; I wish to highlight the way in which Donne's modelling for the monument, and the lost preparatory sketch that resulted,
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"The Black Ethiopian: Crusader King Ferdinand of Aragon and the Heraldry of Wallachia and Moldavia," Nuova Antologia Militare, 7, no. 1 (2026): 249-270.
by
Alexandru Simon
2026, Nuova Antologia Militare
The usage of human figures, “from head to toe”, coloured black continues to represent a delicate and controversial matter. In the cases of medieval Wallachia and Moldavia, the colour black seems to have been “genetically embedded” in...
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The usage of human figures, “from head to toe”, coloured black continues to represent a delicate and controversial matter. In the cases of medieval Wallachia and Moldavia, the colour black seems to have been “genetically embedded” in their history, from the founding voivode of Wallachia (the “Black Voivode”), according to tradition, to the oriental name of Moldavia (Carabogdan), also rooted in the name of its first official ruler (Bogdan). The discovery of grant of arms made by King Ferdinand I of Aragon, in Perpignan (1415), to two brothers of Wallachian origin, in King Sigismund of Luxemburg’s retinue, allows us to readdress the issue in a larger framework. The said brothers, George and Valentin, the sons of Peter (Petrusian?) of Wallachia, had requested and received a standing armed “Black Ethiopian” from the Iberian monarch. They came from the extremities of the anti-Ottoman crusader front to those of the anti-Moorish crusader front. Nevertheless, the “Black person” on their coat of arms was not reduced to a decapitated head, but was depicted in a most dignified manner.
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Valla No.1-2/2018
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Maria Eliferova
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Михаил Несин
2026, Valla
Журнал посвящён проблемам истории европейской культуры от Средневековья до XIX в. Приоритетные направленияисточниковедение, история повседневности, социальная антропология, cultural studies, case studies, межкультурные контакты (включая...
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Журнал посвящён проблемам истории европейской культуры от Средневековья до XIX в. Приоритетные направленияисточниковедение, история повседневности, социальная антропология, cultural studies, case studies, межкультурные контакты (включая историю перевода), история гуманитарных наук.
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Un trésor dévoilé. Le Retable de l’Adoration des Mages du XVe siècle conservé à la Basilique San Nazaro Maggiore à Milan. Un chef-d’œuvre bruxellois de Jan Borman
by
Sacha Zdanov
2026
Discovered in a church in Milan, an altarpiece has emerged as a masterpiece of late fifteenth-century Brussels sculpture. Commissioned by a wealthy Milanese merchant engaged in trade with Northern Europe, this altarpiece dedicated to the...
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Discovered in a church in Milan, an altarpiece has emerged as a masterpiece of late fifteenth-century Brussels sculpture. Commissioned by a wealthy Milanese merchant engaged in trade with Northern Europe, this altarpiece dedicated to the Adoration of the Magi presents a sophisticated composition featuring sumptuous costumes, ornaments inspired by the East, and narrative scenes drawn from the popular literature then in vogue in Brussels.
The restoration of the work, entrusted to the Royal Institute for Cultural Heritage, has revealed beneath a thick, dark varnish the extraordinary quality of its carving, enhanced by a remarkably refined polychromy. Stylistic and technical analysis supports the attribution of the altarpiece to Jan II Borman, the renowned Brussels sculptor at the height of his artistic career.
Through technical virtuosity and finesse of execution, the artist here delivers a work in which the polychromy is so intimately integrated with the sculpted decoration that he appears to have worked in close collaboration with the polychromer, producing a subtle interplay of textures in the rendering of textiles and costume accessories.
This monograph reveals the unexpected discoveries made possible through close interdisciplinary collaboration between Belgium and Italy. The altarpiece now stands as a key milestone in the history of art of the former Southern Netherlands.
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Gli Ordini militari e le chiese a pianta centrale. Vecchie riflessioni e nuove prospettive
by
Lorenzo Mercuri
2026, Gli Ordini militari e ospedalieri in Italia: stato della ricerca storica e artistica
Vecchie riflessioni e nuove prospettive Le forme degli edifici a cui, secondo Albert Lenoir, si sarebbero ispirati i Templari per ideare le loro chiese circolari in Occidente sono compendiate dalla sfragistica di marca crociata 1 . La...
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Vecchie riflessioni e nuove prospettive Le forme degli edifici a cui, secondo Albert Lenoir, si sarebbero ispirati i Templari per ideare le loro chiese circolari in Occidente sono compendiate dalla sfragistica di marca crociata 1 . La presenza della Cupola della Roccia nel recto dei loro sigilli più celebri (Fig. ) e dell'interno dell'Edicola/Tomba di Cristo in quelli
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Introduzione, in Nuove ricerche sulle iscrizioni greche di Roma medievale (sec. VI-XV), a cura di F. D’AIUTO - A. LUZZI, [Roma, Sapienza Università di Roma, 2025] (= Rivista di studi bizantini e neoellenici, n.s. 61 [2024], pp. 183-353, con tavv. f.t.), pp. 185-191
by
Francesco D'Aiuto
2026
Introduzione a una serie di articoli pubblicati nell'ambito del progetto PRIN 2022 «EByRome. Epigraphy of “Byzantine” Rome: medieval Greek inscriptions from/in Rome and Latium (6th-15th cent. AD)», pubblicata sotto il titolo «Nuove...
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Introduzione a una serie di articoli pubblicati nell'ambito del progetto PRIN 2022 «EByRome. Epigraphy of “Byzantine” Rome: medieval Greek inscriptions from/in Rome and Latium (6th-15th cent. AD)», pubblicata sotto il titolo «Nuove ricerche sulle iscrizioni greche di Roma medievale (sec. VI-XV)», a cura di F. D’AIUTO - A. LUZZI, [Roma, Sapienza Università di Roma, 2025] (= Rivista di studi bizantini e neoellenici, n.s. 61 [2024], pp. 183-353, con tavv. f.t.).
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El episcopado leonés de don Juan del Campo (+1344): diplomacia, arte y liturgia en la catedral de León en tiempos de Alfonso XI
by
Pablo Ordás
2026, Añada. Revista d'estudios llioneses
Este artículo examina la trayectoria de Don Juan del Campo, figura eclesiástica que destacó por su carrera diplomática y ascenso cortesano. Procedente de una importante familia burguesa compostelana, Del Campo patrocinó el convento de...
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Este artículo examina la trayectoria de Don Juan del Campo,
figura eclesiástica que destacó por su carrera diplomática y ascenso
cortesano. Procedente de una importante familia burguesa compostelana,
Del Campo patrocinó el convento de Santa María de
Belvís en Santiago, aunque su principal relevancia histórica reside
en su papel político-eclesiástico. Su carrera ascendente incluyó los
cargos de arcediano en Lugo y notario mayor de Andalucía (1326),
para luego ocupar sucesivamente los obispados de Cuenca (1327-
1328), Oviedo (1328-1332) y finalmente el de León (1332-1344).
Paralelamente desempeñó funciones diplomáticas cruciales, como
la embajada ante el papado en Aviñón y negociaciones militares
con don Juan Manuel para la guerra de Granada. Durante su episcopado
leonés, destaca su estrategia para reforzar los lazos que
unían su diócesis con la corona castellanoleonesa, instituyendo
procesiones y oraciones específicas por Alfonso XI. Además, don
Juan del Campo implementó una sistemática reforma del cabildo
leonés mediante constituciones que regulaban asistencia litúrgica,
conducta de los clérigos, administración económica y disciplina
eclesiástica. Estas reformas reflejaban problemas persistentes desde
el siglo XIII, como el absentismo y el concubinato clerical.
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2026 De la tapia al ladrillo. El pensamiento técnico en la Edad Moderna. El caso valenciano
by
Arturo Zaragoza
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Rafael Marin-Sánchez
2026, Actas del Decimocuarto Congreso Nacional y Sexto Congreso Internacional Hispanoamericano de Historia de la Construcción
Entre los primeros años del siglo XVII y los últimos del siglo xviii en la ciudad de Valencia y su comarca, la Huerta, se suceden distintos sistemas constructivos. Al tradicional del sistema de muros de tapia de tierra conjuntado con...
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Entre los primeros años del siglo XVII y los últimos del siglo xviii en la ciudad de Valencia y su comarca, la Huerta, se suceden distintos sistemas constructivos.
Al tradicional del sistema de muros de tapia de tierra conjuntado con elementos estructurales y ornamentales de piedra, le suceden diversas variantes de fábricas de ladrillo. Estas se caracterizan por su notable
variedad de formatos, calidades y soluciones según la relevancia del edificio y otros condicionantes formales y constructivos.
Aunque resulta difícil establecer una cronología clara, por la incertidumbre que conlleva la desaparición de edificios de interés para el estudio y la exigua información documental disponible sobre el tema, parece razonable
suponer que los muros de tapia valenciana pudieron evolucionar de manera natural hacia unas primeras obras de ladrillo formadas por piezas de mediana calidad dispuestas entre gruesos tendeles de argamasa.
Cabría relacionar este avance con la paulatina reducción de la sección transversal de los muros y una mayor exigencia de rigor constructivo ante el número creciente de elementos singulares que incorporan las nuevas fachadas urbanas: portadas, vanos, galerías y cornisamentos, principalmente. Además, admitía el revestimiento decorativo de los paramentos interiores que se iba imponiendo en la región con las nuevas
modas «al romano» y los preceptos trentinos. De igual manera, la adopción cúpulas en el crucero de las iglesias obligó a buscar fábricas de mayor firmeza para construir los estribos.
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ICONOGRAFÍA ÉPICA FRANCA EN TEMPLOS NAVARROS
by
JULIO DONLO
2026, LA CORTE NAVARRA DE TUDELA EN EL SIGLO XII
The paper titled "ICONOGRAFÍA ÉPICA FRANCA EN TEMPLOS NAVARROS" by Julio Donlo Fernández presents an intriguing exploration of the symbolic and historical narratives embodied in the Franco-epic iconography of Navarrese churches. The...
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The paper titled "ICONOGRAFÍA ÉPICA FRANCA EN TEMPLOS NAVARROS" by Julio Donlo Fernández presents an intriguing exploration of the symbolic and historical narratives embodied in the Franco-epic iconography of Navarrese churches. The manuscript provides a detailed analysis of the intertwining of medieval literature with the political and ideological messages conveyed through artistic representations in religious sites.
Overview
The work explores the intersection of epic franco narratives with historical architecture, offering a detailed examination of how the figure of heroes like Rotrou de Perche and saints like Louis IX are represented within Navarrese sacral art. The author positions these depictions as significant in understanding the socio-political and religious currents of the time, especially in the context of the Crusades and the regional power dynamics involving Navarre, France, and England. By delving into the rich tapestry of medieval iconography, the manuscript deciphers the way in which art contributed to the myth-making processes that defined regional identities and historical narratives.
SITUADAS FUERA DE CONTEXTO, SIN NOMBRE NI TÍTULO QUE LAS RECONOZCA, SE ESTUDIAN TRES ICONOGRAFÍAS GUERRERAS CONSERVADAS EN LOS MUROS DE TRES TEMPLOS DE NAVARRA, CUYO ORIGEN CABE SITUAR EN LA TRADICIÓN LEGENDARIA MEDIEVAL Y CUYA REMEMORACIÓN DEBE ATENDER A PRESUNTAS RECLAMACIONES SOCIALES DE ORGULLO Y DE PRIVILEGIOS EN EL CONTEXTO DE LOS  CAMBIOS DINÁSTICOS ACONTECIDOS EN NAVARRA DESDE EL SIGLO XIII HASTA EL SIGLO XVI.
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"Los instrumentos semióforos mediadores de lo invisible: reliquias y milagros"
by
José-Luis Senra
2026, Los poderes inmateriales de los monasterios: las reliquias, fragmentos de eternidad (Aguilar de Campoo, 28 a 31 de julio de 2025)
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Tomb of Yaroslav in St Sophia Cathedral in Kyiv
by
Viacheslav Korniienko
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Борис Михайліченко
2026, Таємниці гробниці Ярослава Мудрого (за результатами досліджень 2009–2011) / Secrets of the Yaroslav the Wise Grave (based on the studies of 2009–2011)
A significant complex of studies of the Yaroslav grave and the remains from his sarcophagus has been held in 2009–2011, and extensive prospecting works have been conducted to determine the location of the skeleton of Yaroslav the Wise....
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A significant complex of studies of the Yaroslav grave and the remains from his sarcophagus has been held in 2009–2011, and extensive prospecting works have been conducted to determine the location of the skeleton of Yaroslav the Wise.
Research of the constructive characteristics of Yaroslav’s grave made it possible to discover that it was built into the eastern parts of both the northern galleries shortly after the cathedral’s completion in 1018. As the study revealed, the grave – being a sanctuary with the tomb of the founder of the Yaroslavychi dynasty – consisted not only of a small chapel at the east end of the internal gallery, where the sarcophagus still stands, but also of the spacious parekklesion temple next to it, designed for burial of the dead princes, in the eastern part of the northern external gallery. The analysis of the origin of the sarcophagus confirmed its creation in the 6–7th centuries, so Yaroslav was buried in the very ancient (for his times) grave, as in the belief of medieval human, being buried in the early Christian relic had to sanctify the prince and glorify him.
For the first time, a significant complex of the ancient graffiti on the sarcophagus surface was studied. Despite the fact that they provide an interesting material for research in the area of biographical studies and genealogy of the 16–17th centuries, these epigraphic sites – along with other sources – have demonstrated that the sarcophagus from the very start was in the same architectural location as it is now. It was just a little closer to the southern wall of the cathedral.
The study of the remains taken from the sarcophagus has given even more important data. Of course, not all the questions were unsolved: namely, it was not possible to determine whose bones were in the grave along with those of Yaroslav and which were “solemnly returned” back to the sarcophagus in 1964, thus misleading both the scientific community and the visitors of the St. Sophia in Kyiv. However, a comprehensive morphological study of the skeleton, compared with the research of 1940, made it possible to establish the fact that the bones belong not to a single person, but at least two. The skull with the jaw is female, but it is hard to tell whether it belongs to Ingegerd. The other bones are of a relatively young male. However, due to peculiarities of nutrition, these persons did not belong to the common people. But it is unlikely that the bones were put to the sarcophagus in the 11th century. More probably, the female skull and the male bones, together with the bones of a baby, got into the sarcophagus later, at one of the ordering of the cathedral when the bones discovered under the temple’s floor from several burials were relocated. It is not possible to determine when exactly these works were conducted; however, due to the testimony of Erich Liasota we know that it happened before the late 16th century, as in his notes two persons buried in the sarcophagus are remembered.
The unfortunate fact of no skeleton of Yaroslav the Wise in the sarcophagus has motivated the scholars to conduct a thorough research activities, which made it possible to form an objective understanding of the circumstances, how the remains of Yaroslav did disappear, and to reconstruct the story of their “journey” to the American continent. This story is radically different from the established official version of returning the remains from Leningrad after the WWII and putting them in the sarcophagus in 1964. If the sarcophagus had not been opened in 2009 and the truth had not been discovered, this invaluable relic could be lost forever, as the living witnesses of its disappearance and transportation to the U.S. are almost gone. At the moment, we believe there is a possibility to return back to Kyiv not only the remains of Yaroslav, but also the miraculous icon of St. Nicholas the Wet, which – by the way – definitely needs an immediate restoration. Therefor, a very complicated organizational and diplomatic activity should be done to return these national shrines to Ukraine. Maybe, it will happen one day, and the remains of Yaroslav the Wise will finally return to Ukraine – the place where they disappeared in 1943. Obviously, the sarcophagus should be opened then for the fifth time...
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Il dittico della National Gallery di Londra e gli esordi del Maestro della Santa Chiara, in "Scritti di Storia dell'Arte in onore di Angelo Tartuferi", Roma 2025, pp. 9-14.
by
Mario Cobuzzi
2026
Scritti di Storia dell'Arte in onore di Angelo Tartuferi Riproduzione vietata, anche parziale, senza l'autorizzazione dell'editore. Nessuna parte di questo libro può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo...
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Scritti di Storia dell'Arte in onore di Angelo Tartuferi Riproduzione vietata, anche parziale, senza l'autorizzazione dell'editore. Nessuna parte di questo libro può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo elettronico, meccanico o altro senza l'autorizzazione scritta dei proprietari dei diritti e dell'editore.
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Бојанин, Крсмановић, Византијски утицај на државну управу у доба Немањића
by
Stanoje Bojanin
2026, Византијско наслеђе и српска уметност I–III. Tом I: Процеси Византинизације и српска археологија
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Visualizing the Magnificat: Mary and the Attribute of the Book in Early Christian and Medieval Art
by
Elena Papastavrou
2026, Religions
This paper examines the iconography of the Mother of God holding a book in Early Christian and Medieval art, focusing on representations in which a book or scroll functions as an attribute of the Virgin Mary. Particular attention is given...
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This paper examines the iconography of the Mother of God holding a book in Early Christian and Medieval art, focusing on representations in which a book or scroll functions as an attribute of the Virgin Mary. Particular attention is given to scenes depicting Mary in relation to the Christ Child, Christ Pantocrator, and the Magnificat. The study explores the symbolic significance of the book and scroll through the textual tradition of the Church Fathers. Adopting the methodological approach to the iconographical structure developed by André Grabar, the paper centers on three interconnected case studies. First, it offers a close re-examination of a Marian scene on the ivory relief of the Werden casket (9th c.) of which the meaning is hard to understand. Second, it analyzes the depiction of the Mother of God in the vault of the crypt of Epiphanius at San Vincenzo al Volturno (9th c.), with particular emphasis on motifs that associate the image with the theme of Mary's Triumph. Finally, it considers a fresco of Mary and Christ enthroned from the Egyptian monastery of Deir al-Suryan (10th c.), treating these works as semantically and conceptually related. Through this comparative analysis, the paper advances several interpretations of the Magnificat as articulated in Early Christian visual culture and developed in later periods with the contribution of the Byzantine theology. Given the well-established influence of Early Christian art on both the Carolingian Renaissance in the West and the Byzantine East, the shared iconographical details identified here-both formal and conceptual-are understood as deriving from a common visual tradition rooted in Antiquity.
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Ms BVS/1; Beauvais Cathdrale, Beautiful and Flawed
by
MICHAEL J FERRAR
2026
There have been a plethora of papers lately which followed the Murray/Tallon papers which frankly should never have been written as their investigations were based upon a basically false premise. This paper exposes the problems and...
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There have been a plethora of papers lately which followed the Murray/Tallon papers which frankly should never have been written as their investigations were based upon a basically false premise. This paper exposes the problems and identifies the original measurements used.
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МЕДИЦИНА У СРЕДЊОВЕКОВНОЈ СРБИЈИ ИЗМЕЂУ НАУЧНИХ И ЦРКВЕНИХ СХВАТАЊА/MEDICINE IN MEDIEVAL SERBIA BETWEEN SCIENTIFIC AND CHURCH UNDERSTANDINGS
by
Marija Koprivica
2026
У овом раду разматрамо рецепцију научних медицинскох знања у средњовековној Србији. Најзначајније здравствене установе средњовековне Србије деловале под окриљем Цркве, најчешће као манастирске болнице, а најзначајнији медицински текстови...
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У овом раду разматрамо рецепцију научних медицинскох знања у средњовековној Србији. Најзначајније здравствене установе средњовековне Србије деловале под окриљем Цркве, најчешће као манастирске болнице, а најзначајнији медицински текстови сачувани су њиховим архивима. У раду је наведен процес и правци продирања научних медицинских знања у српске земље средњег века, који се одвијао упоредо са процесом христијанизације. Указано је на путеве којима су научна схватања прилагођавана да буду прихватљивија црквеним учењима. Схватања научне медицине средњег века не морају се гледати као супротсвављена Цркви и верским схватњаима о природи човека, урзочничим болести и исцељења.
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ESSAESSAYS ON THE OLDEST ICONOGRAPHY OF THE CRUCIFIXION OF JESUS CHRIST
by
Boris Uspenskij
2026, Vestnik drevney istorii
The iconographic traditions of representing the crucifixion of Jesus Christ date back to the first third of the fifth century AD. One of them shows Christ with the thieves crucified with Him (Lk 23 : 39–43), the other – with a warrior who...
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The iconographic traditions of representing the crucifixion of Jesus Christ date back to
the first third of the fifth century AD. One of them shows Christ with the thieves crucified
with Him (Lk 23 : 39–43), the other – with a warrior who pierced His body with a spear (Jn
19 : 39). The oldest image of the Crucifixion with the thieves is carved on the doors of the
Roman basilica of Santa Sabina (431–432). The oldest depiction of the Crucifixion with the
warrior is on an ivory from the British Museum; it dates from the same time as the doors of
Santa Sabina (ca. 420–430) and is also probably made in Rome. In each of these cases we
see the beginning of an iconographic tradition that becomes widespread thereafter. At the
same time, both images reveal something not quite common, different from the later tradi-
tion. In both cases this is evident in the composition of the right and left. On the doors of St.
Sabina the Good Thief is shown to the left of Christ (on the right from the point of view of
the spectator). Subsequent tradition, in accordance with the axiological principle, steadily
places him at Christ’s right (on the left for the spectator). In the Crucifixion of the British
Museum, the warrior is on the left side of Christ (spectator’s right). In later depictions of this
scene, he is usually placed on Christ’s right and the spear is pointed at His right side. From
the sixth century onwards, in both cases, the opposition of right and left began to be inter-
preted not from the point of view of the spectator, but from that of the figure depicted in the
image, i.e. in the perspective of Christ. As a result, in both cases the image takes on a new,
symbolic meaning open to a theological interpretation. If the initial image can be regarded as
an illustration of the Gospel text, then later it becomes an independent work filled with the
theological content, i.e. it becomes an icon. Thus, the general direction of the iconographic
evolution in both cases boils down to the formula: from illustration to icon. In considering
the warrior scene, special attention is paid to the traditional presence of a man with a sponge.
His figure indicates that the ancient masters did not illustrate the Gospel of John directly, but
a special version of the Gospel of Matthew with an interpolation from the Gospel of John.
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ОЧЕРКИ ДРЕВНЕЙШЕЙ ИКОНОГРАФИИ РАСПЯТИЯ ИИСУСА ХРИСТА
by
Boris Uspenskij
2026, Вестник древней истории
Иконографические традиции изображения распятия Иисуса Христа восходят к первой трети V в. Одна из них изображает Христа с разбойниками, распятыми вместе с Ним (Лк 23 : 39–43), другая – с воином, пронзившим копьем Его тело (Ин 19 :39)....
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Иконографические традиции изображения распятия Иисуса Христа восходят к первой трети V в. Одна из них изображает Христа с разбойниками, распятыми вместе с Ним (Лк 23 : 39–43), другая – с воином, пронзившим копьем Его тело (Ин 19 :39). Древнейшее изображение Распятия с разбойниками вырезано на дверях римской
базилики св. Сабины (431–432 гг.). Древнейшее изображение Распятия с воином находится на авории из Британского музея; оно относится к тому же времени, что и двери св. Сабины (420–430 гг.), и также, как предполагается, изготовлено в Риме. В каждом из этих случаев мы видим начало иконографической традиции, которая
получает в дальнейшем широкое распространение. При этом в обоих изображениях обнаруживается нечто не вполне обычное, отличающееся от позднейшей традиции. Как в том, так и в другом случае это проявляется в композиции правого и левого. На
дверях св. Сабины Благоразумный Разбойник показан по левую руку Христа (для зрителя — справа). Последующая традиция устойчиво помещает его по правую руку Христа (слева для зрителя). На Распятии Британского музея воин находится с левой
стороны Христа (справа для зрителя). В дальнейшем этот воин, как правило, показан по правую руку Христа, и копье направлено в Его правый бок. С VI в. в обоих иконографических сюжетах противопоставление правого и левого начинает осмысляться
с учетом не внешней зрительной позиции (зрителя картины), а с точки зрения того, кто представлен в самом изображении, т.е. в перспективе Христа. В результате оба изображения получают новый, символический смысл, открытый для богословской интерпретации. Если первоначальное изображение может рассматриваться как ил-
люстрация к евангельскому тексту, то в дальнейшем она становится самостоятельным произведением, наполненным богословским содержанием, т.е. иконой. Такимобразом, общее направление эволюции иконографического сюжета сводится к формуле: от иллюстрации к иконе.
При рассмотрении сцены с воином, пронзающим тело Христа, особое внимание уделяется традиционному присутствию человека с губкой. В статье показано, что изображение этого человека свидетельствует о том, что древние мастера иллюстрировали не непосредственно Евангелие от Иоанна, а специальную версию Евангелия от Матфея с интерполяцией из Евангелия от Иоанна.
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Том 85 № 3
by
Boris Uspenskij
2026
Июль-Август-Сентябрь ЖУРНАЛ ВЫХОДИТ ЧЕТЫРЕ РАЗА В ГОД О С Н О В А Н в 1 9 3 7 г. Научная подготовка журнала осуществляется Институтом всеобщей истории РАН в сотрудничестве с Государственным Эрмитажем и Московским государственным...
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Июль-Август-Сентябрь ЖУРНАЛ ВЫХОДИТ ЧЕТЫРЕ РАЗА В ГОД О С Н О В А Н в 1 9 3 7 г. Научная подготовка журнала осуществляется Институтом всеобщей истории РАН в сотрудничестве с Государственным Эрмитажем и Московским государственным университетом имени М. В. Ломоносова Международный редакционный совет Председатель акад. РАН М. Б. Пиотровский (Санкт-Петербург) проф. Э. Андерсен (Осло), проф. К. Антонетти (Венеция), проф. Г. Бауэрсок (Принстон), проф. Д. Браунд (Эксетер), проф. А. Брессон (Чикаго), проф. Г.-И. Герке (Фрайбург), акад. РАН Н. Н. Казанский (Санкт-Петербург), проф. Ф. де Каллатай (Брюссель), проф. П. Калльери (Болонья), акад. РАН В. И. Молодин (Новосибирск), акад. РАН В. С. Мясников (Москва), проф. Г. Парцингер (Берлин), проф. Х. Ремесаль Родригес (Барселона), проф. С. Розен (Стокгольм), проф. Ч. Б. Роуз (Филадельфия), проф. Н. Симс-Вильямс (Лондон), проф. П. Функе (Мюнстер), проф. М. Хадзопулос (Афины), проф. А. Ханиотис (Принстон), проф. Ш. Шакед (Иерусалим), проф. Д. Шарпен (Париж) Редакционная коллегия Главный редактор член-корр. РАН А. И. Иванчик (Москва) д. и. н. А. Ю. Алексеев (Санкт-Петербург), к. и. н. И. С. Архипов (ответственный секретарь, Москва), д. и. н. А. О. Большаков (Санкт-Петербург), д. и. н. А. А. Вигасин (Москва), член-корр. РАН Н. П. Гринцер (Москва), к. и. н. М. М. Дандамаева (Санкт-Петербург), д.и.н. А. Е. Демидчик (Санкт-Петербург), к. и. н. А. А. Ильин-Томич (Майнц), д-р Г. М. Кантор (Оксфорд), д. и. н. В. Д. Кузнецов (Москва), к. филол. н. П. Б. Лурье (Санкт-Петербург), к. и. н. Е. В. Ляпустина (Москва), к. и. н. И. А. Макаров (Москва), к. и. н. В. И. Мордвинцева (Москва), к. и. н. А. В. Муравьев (Москва), к. и. н. А. А. Немировский (Москва), д. и. н. А. В. Подосинов (Москва), д. и. н. С. Ю. Сапрыкин (Москва), д. и. н. А. В. Седов (Москва), д.филол.н. М. Г. Селезнёв (Москва), к. филол. н. И. С. Смирнов (Москва), к. и. н. С. В. Смирнов (зам. глав. ред., Москва), д. и. н. А. М. Сморчков (Москва), к. филол. н. С. А. Степанцов (Москва), д. и. н. И. Е. Суриков (Москва), член-корр. РАН И. В. Тункина (Санкт-Петербург) Заведующая редакцией А. В. Иванова
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Puigarnau, Alfons. “Ferran de Sagarra, hoy. Teoría y práctica de la ruptura de sellos medievales”
by
ALFONS PUIGARNAU
2026, Xavier Barral Altet (dir.). La sigil·lografia medieval a Catalunya i a l'Europa mediterrània: Estudis comparatius. Roma: Institut d’Estudis Catalans-Viella, p. 273-298.
En este texto, el autor analiza diversos casos de matrices de sellos rotas en la Cataluña medieval y otras regiones. Las notas manuscritas del sigilógrafo catalán Ferran de Sagarra sirven de guía para explorar los mecanismos de...
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En este texto, el autor analiza diversos casos de matrices de sellos rotas en la Cataluña medieval y otras regiones. Las notas manuscritas del sigilógrafo catalán Ferran de Sagarra sirven de guía para explorar los mecanismos de significación asociados a una teología política medieval esencial. Más allá de la materialidad de la matriz sigilar y del sello impreso, se pueden descifrar una serie de comportamientos icónicos que permiten al autor proponer un método para comprender la historia cultural europea a través de formas narrativas anacrónicas similares a las de Aby Warburg, Walter Benjamin o, más recientemente, Georges Didi-Huberman. Es posible demostrar la validez histórica de los sellos al servicio de una historia cultural y un pensamiento que trascienden las narrativas políticas o religiosas, abriendo nuevos horizontes en la comprensión del Occidente latino desde el periodo carolingio hasta el apogeo del gótico internacional.
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Geometric Evolution of Structure in the Gothic Architecture of Guillem Sagrera in Perpignan. Graphic Analysis
by
Marta Quintilla Castán
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Luis Agustín-Hernández
2026, Disegno
Guillem Sagrera is an essential architect during the 15th century in the Crown of Aragon. He is known for his participation in the construction of Mallorca Cathedral, first as an apprentice in the Portico del Mirador, from 1397 and later...
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Guillem Sagrera is an essential architect during the 15th century in the Crown of Aragon. He is known for his participation in the construction of Mallorca Cathedral, first as an apprentice in the Portico del Mirador, from 1397 and later as a teacher. He was also commissioned to build the Lonja (Maritime Exchange) in Mallorca, begun in 1426. In this period his residence in Perpignan is documented, at least from 1410, but there are certain unknowns about the works in which he may have participated in Roussillon during this period, such as his part in the Lonja del Mar, in Perpignan or the chronology in the works of the chapterhouse of Saint John the Baptist. This period influenced and modified the way of conceiving the geometric layout of the structure in his buildings. This study aims to determine two aspects: 1. Through the parallelisms in his sculpture, to determine the works that he was able to carry out in this period in Roussillon. 2. Once his participation in the Chapterhouse of Saint John the Baptist was confirmed, to carry out a deep graphic analysis, modelling the architectural space, in which the structural and geometric experimentation is confirmed, observing how there was a change from the southern Gothic layout, eliminating capitals and corbels, to a freer layout with a mastery of the geometric layout, going beyond the canons and how this would be reflected in two of his later works, the Lonja de los Mercaderes in Palma and the Sala dei Baroni, in Castell Nuovo in Naples.
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L'invention de l'animal. Essai d'anthropologie médiévale
by
Pierre-Olivier Dittmar
2026, Gallimard, Bibliothèque illustrée des histoires
Il n'y avait pas d'animal au Moyen Âge. Des cochons et des oiseaux, des boeufs et des belettes, des lapins et des ours, des loups et des abeilles, des licornes même, oui. Mais si les animaux étaient présents en nombre, partageaient leur...
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Il n'y avait pas d'animal au Moyen Âge. Des cochons et des oiseaux, des boeufs et des belettes, des lapins et des ours, des loups et des abeilles, des licornes même, oui. Mais si les animaux étaient présents en nombre, partageaient leur territoire et bien d'autres relations avec les humains, l'animal en tant que catégorie, tel que nous le connaissons aujourd'hui, n'existait pas. Or l'invention de ce concept ne crée pas seulement une fracture entre les humains et le reste du monde ; elle produit aussi un second partage, moins visible, plus intime, qui donne naissance à une "part animale"au sein de chaque individu. L'objet de cet ouvrage est de témoigner d'un monde, d'une période, qui ignorait cette double coupure et l'a fait émerger. Au croisement de l'histoire religieuse et de l'histoire intellectuelle, de l'histoire de l'art ou de celle de l'alimentation, il met en lumière, notamment par les images, un mode particulier de rapport au vivant et un moment décisif de l'histoire des sociétés occidentales.
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Thronus Dei. An Iconographic Interpretation of this Mariological Metaphor in the Light of the Christian Narrative Thronus Dei. Interpretacja ikonograficzna metafory mariologicznej w świetle narracji chrześcijańskiej
by
José María SALVADOR-GONZALEZ
2026, Biblica et Patristica Thoruniensia
This article aims to illuminate the possibility of correctly interpreting the various ways of artistically representing the Virgin Mary as thronus Dei. To do this, the author follows a double, complementary methodological strategy. First,...
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This article aims to illuminate the possibility of correctly interpreting the various ways of artistically representing the Virgin Mary as thronus Dei. To do this, the author follows a double, complementary methodological strategy. First, he examines a series of texts through which, for almost a millennium, many Fathers, theologians, and liturgical hymnographers of the Eastern and Western Churches agreed to identify Mary as the throne of God or some other similar symbolic figure. Secondly, the author analyzes ten European paintings and sculptures between the 12th and 15th centuries, in which the Virgin is represented as the throne of God. Thus, based on these concordant doctrinal testimonies, the author justifies his iconographic interpretations of these Marian artistic images. Abstrakt. Niniejszy artykuł ma na celu naświetlenie możliwości prawidłowej interpretacji różnych sposobów artystycznego przedstawiania Maryi Panny jako thronus Dei. Aby to osiągnąć, autor stosuje podwójną, uzupełniającą się strategię metodologiczną. Po pierwsze, analizuje szereg tekstów, w których przez prawie tysiąc lat wielu Ojców Kościoła, teologów i hymnografów liturgicznych Kościołów Wschodniego i Zachodniego zgadzało się identyfikować Maryję z tronem Boga lub inną podobną postacią symboliczną. Po drugie, autor analizuje dziesięć europejskich obrazów i rzeźb z okresu od XII do XV wieku, w których Maryja jest przedstawiana jako tron Boga. W ten sposób, opierając się na tych zgodnych świadectwach doktrynalnych, autor uzasadnia swoje ikonograficzne interpretacje tych maryjnych przedstawień artystycznych.
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The Assumption of Mary into Heaven According to Saint Bonaventure
by
José María SALVADOR-GONZALEZ
2026, Konstantínove listy. Constantine’s Letters
With this article we aim to shed light on the various, specificarguments with which the prestigious 13th century Franciscan theologian Saint Bonaventureof Bagnoregio (c. 1217/21 – 1274) – known as the Seraphic Doctor (Doctor Seraphicus)...
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With this article we aim to shed light on the various, specificarguments with which the prestigious 13th century Franciscan theologian Saint Bonaventureof Bagnoregio (c. 1217/21 – 1274) – known as the Seraphic Doctor (Doctor Seraphicus) –,defended the belief in the immediate resurrection and assumption of Mary, body and soul,into heaven. As a necessary doctrinal foundation for his position in this regard, we will firstpresent a summary of the biblical, apocryphal, patristic and theological antecedents onwhich the Christian belief in the bodily Assumption of Mary into heaven is based. We willthen proceed by following step by step the complex reasoning of Saint Bonaventure to justifyhis defense of the assumptionist thesis. The results of our study will show the originalityof the arguments through which this influential Franciscan thinker defended the belief inthe bodily Assumption of Mary and her sublime exaltation as enthroned Queen of Heaven.Indeed, St. Bonaventure’s arguments (along with those of his prestigious colleagues at theFranciscan Theological School) in favor of belief in the bodily Assumption of Mary intoheaven contributed greatly to the official definition of the dogma of the Assumption in 1950by Pope Pius XII.
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Urbanistica e architettura del Trecento a Brescia
by
Pierfabio Pierpiero Panazza
2026, Il Leone e la Vipera Le arti a Brescia nel Trecento e la cappella di San Giovanni Battista in San Salvatore a cura di Stefania Buganza e Roberta D’Adda
Il periodo delle signorie a Brescia è stato definito il “lungo Trecento”, compreso tra l’ascesa e il consolidamento del potere della famiglia Maggi e l’elezione della città a sede della corte di Pandolfo III Malatesta. Tuttavia, le...
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Il periodo delle signorie a Brescia è stato definito il “lungo Trecento”, compreso tra l’ascesa e il consolidamento del potere della famiglia Maggi e l’elezione della città a sede della corte di Pandolfo III Malatesta. Tuttavia, le trasformazioni architettoniche e urbanistiche che segnano questa fase affondano le loro radici nella piena età comunale.
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LE TEXTILE FAIT-IL LE MOINE ? PARAMENTIQUE ET QUOTIDIEN DANS LES SOURCES CLUNISIENNES MÉDIÉVALES
by
Arlette Maquet
2026, DE L’ORIENT ANCIEN À LA GAULE ROMAINE, SANS JAMAIS PERDRE LE FIL. Recherches étoffées offertes à Catherine Breniquet
Les textiles constituent un élément-clé des pratiques liturgiques, cependant les préconisations de la règle bénédictine et des coutumes ne sont pas toujours suivies. Les sources dessinent l’image d’églises clunisiennes richement ornées,...
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Les textiles constituent un élément-clé des pratiques liturgiques, cependant les préconisations de la règle bénédictine et des coutumes ne sont pas toujours suivies. Les sources dessinent l’image d’églises clunisiennes richement ornées, ce qui pose des questions d’approvisionnement. Les textiles du quotidien constituent un groupe encore plus mal connu.
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Б. M. Стевановић, Прилог проучавању историје цркве Светог Ђорђа у Речанима, Зборник Филозофског факултета LVI (1), (Косoвска Митровица 2026) 199–215.
by
Бојана Стевановић
2026, ик ФилозофскоЗборник факултета LVI (1), (Косoвска Митровица 2026)
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Das ehemalige Hospital in Schömberg
by
Marian Gabrowski
2026, Schlesischer Gebirgsbote, nr 3
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A Major Bulgarian Contribution
to Understanding Islamic Figurative Art
by
Valery Stojanow
2026, Исторически преглед
Review of: Lyubomir Mikov. Images of Animals and Humans in the Art of Islam
(in the Context of the Hadiths and Sufism). Sofia: Bulgarian Academy of Sciences
Publishing House “Prof. Marin Drinov”, 2025
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Seeing and Hearing God: Sensory Experience in Angela of Foligno's Memoriale
by
Eduard López Hortelano
2026, Religions
This article argues that Angela of Foligno's Memoriale constructs seeing and hearing as epistemic operations through which theological knowledge becomes possible. Rather than treating vision and audition as devotional motifs, the study...
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This article argues that Angela of Foligno's Memoriale constructs seeing and hearing as epistemic operations through which theological knowledge becomes possible. Rather than treating vision and audition as devotional motifs, the study reads them as structured modes of knowing that transform affect into cognition. Using selective close readings of key passages in the Latin tradition of the Memoriale alongside modern translations, the article shows how sensory language mediates authority, discernment, and transformation. The analysis proceeds in four steps: a methodological clarification concerning textual mediation; an examination of seeing as theological cognition; an analysis of hearing as interior authorization; and a discussion of affective pedagogy in which suffering and compassion become forms of knowledge. The article further argues that Angela's itinerary moves from Christological imitation toward Trinitarian participation, reframing the culmination of the journey as participation in medio Trinitatis. The Memoriale thus emerges as a theology of perception in which embodiment, affect, and cognition are inseparable.
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Self-Understandings and Identifications of Orthodox Christians in Early Modern Serbian Marginal Notes 1450–1750
by
Milena Davidović
2026, Identifications of Orthodox Christians in Ottoman Southeastern Europe (c.1450-c.1750)
Manuscript notes often functioned as a rare space where scribes – liberated from the rigid constraints of transcribing liturgical texts – were able to articulate personal expression. This individuality typically manifested in their...
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Manuscript notes often functioned as a rare space where scribes – liberated from the rigid constraints of transcribing liturgical texts – were able to articulate personal expression. This individuality typically manifested in their references to professional roles, social affiliations (such as monastic or clerical identity), and personal experiences. These notes frequently included reflections, anecdotes, and narratives about particular events, revealing how scribes, commissioners, and book buyers perceived themselves and how they identified others. While these entries conveyed individual perspectives, they also reflected shared attitudes within specific professions, religious groups, or local communities.
This study focuses on identity constructs that emerged through processes of self-definition and identification within the concise literary format of manuscript annotations. The research centers on Early Modern Serbian notes, created within the jurisdiction of the Patriarchate of Peć or by individuals active within the broader Serbian Orthodox context in the central Balkans between approximately 1450 and 1750. The analysis concentrates on two principal types of entries: colophons, which provide details about a manuscript’s origin, and transaction notes, which briefly document the purchase or exchange of books.
In the first part of the study, the evolving self-understanding of Serbian scribes under Ottoman rule is explored through representative examples. Particular attention is given to the effects of Christian uprisings in the late 16th and 17th centuries and the subsequent waves of migration, which significantly shaped Orthodox strategies of identity concealment or affirmation. In the absence of powerful local patrons to support literary and scribal endeavors, certain areas of the Peć Patriarchate – especially during its institutional decline – saw the emergence of a distinct category of mobile scribes.
During the period of the Serbian Church’s institutional decline, the Eparchy of Mileševa assumed a crucial role in maintaining spiritual and cultural continuity with the medieval Serbian heritage. Following the restoration of Serbian Church autocephaly in the mid-16th century, the titles of ecclesiastical leaders began to appear more frequently in manuscript notes. Within the diverse corpus of titulature, some formulations exhibit a more “official” character, while others seem to be the product of individual improvisation. Attention to these forms of titulature in this study serves to illuminate the broader ecclesiastical and political agenda of the archbishops of Peć between the 16th century and the abolition of the Patriarchate in 1766.
Belonging to the Orthodox Christian sphere was also expressed through various practices developed over time by subjugated Christian communities in the Ottoman Balkans. Among monastics, the collection of donations (known as “u pisaniju”) was widespread, while ordinary believers frequently affirmed their religious identity by redeeming books, thereby becoming inscribed as donors.
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