10. Churches and religions in Europe. - History Lab https://historylab.es Tue, 10 Jan 2023 13:33:25 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg 10. Churches and religions in Europe. - History Lab https://historylab.es 32 32 Cult and narrative in the San Millán de la Cogolla ivories https://historylab.es/cult-and-narrative-in-the-san-millan-de-la-cogolla-ivories/?utm_source=rss&utm_medium=rss&utm_campaign=cult-and-narrative-in-the-san-millan-de-la-cogolla-ivories Thu, 01 Dec 2022 12:47:04 +0000 https://historylab.es/culto-y-narrativa-en-los-marfiles-de-san-millan-de-la-cogolla/ Francis Wormald's research on the libellus (libelli in plural) introduced scholars to the illustrated lives of saints produced in pre-Romanesque France and Germany.

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]]> Francis Wormald’s research on the libellus (libelli in plural) introduced scholars to the illustrated lives of saints produced in pre-Romanesque France and Germany.

The post Cult and narrative in the San Millán de la Cogolla ivories first appeared on History Lab.

]]> The Papal Bulls in the National Archaeological Museum https://historylab.es/the-papal-bulls-in-the-national-archaeological-museum/?utm_source=rss&utm_medium=rss&utm_campaign=the-papal-bulls-in-the-national-archaeological-museum Thu, 01 Dec 2022 12:47:04 +0000 https://historylab.es/las-bulas-papales-en-el-museo-arqueologico-nacional/ Among the several hundred specimens that make up the MAN's Sigillography Collection, and which are still under study, we highlight the set of papal bulls, which, numbering seventy-seven, made it advisable to publish them as a monograph.

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]]> Among the several hundred specimens that make up the MAN’s Sigillography Collection, and which are still under study, we highlight the set of papal bulls, which, numbering seventy-seven, made it advisable to publish them as a monograph.

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]]> Keimelia/Leipsana. Relics and memory between Antiquity and the Modern World https://historylab.es/keimelia-leipsana-relics-and-memory-between-antiquity-and-the-modern-world/?utm_source=rss&utm_medium=rss&utm_campaign=keimelia-leipsana-relics-and-memory-between-antiquity-and-the-modern-world Thu, 01 Dec 2022 12:47:04 +0000 https://historylab.es/keimelia-leipsana-reliquias-y-memoria-entre-la-antiguedad-y-el-mundo-moderno/ The International Symposium entitled 'Keimelia/Leipsana. Relics and Memory between Antiquity and the Modern World' aims to show the general public, researchers and young students of Humanities how transversal studies on the survival of cultural uses and mentalities of the ancient Mediterranean in the early Modern Age can illuminate a fertile field of multidisciplinary collaboration around the (re)appropriation and global circulation of corporeal and objectual 'spolia'.

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]]> The International Symposium entitled ‘Keimelia/Leipsana. Relics and Memory between Antiquity and the Modern World’ aims to show the general public, researchers and young students of Humanities how transversal studies on the survival of cultural uses and mentalities of the ancient Mediterranean in the early Modern Age can illuminate a fertile field of multidisciplinary collaboration around the (re)appropriation and global circulation of corporeal and objectual ‘spolia’.

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]]> The Huesca Bible, from knowledge to conservation https://historylab.es/the-huesca-bible-from-knowledge-to-conservation/?utm_source=rss&utm_medium=rss&utm_campaign=the-huesca-bible-from-knowledge-to-conservation Thu, 01 Dec 2022 12:46:57 +0000 https://historylab.es/biblia-de-huesca-del-conocimiento-a-su-conservacionenlace-externo-se-abre-en-ventana-nueva/ On the occasion of the museographic renovation of the National Archaeological Museum, an important codex from the Department of Medieval Antiquities, known as the Huesca Bible, was restored. This article describes the work, both in terms of its intellectual and material values, and the determination and justification of the treatments carried out. The actions have followed the criterion of maximum respect for the integrity of the work, guaranteeing the minimum intervention and respecting and maintaining all the original elements.

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]]> On the occasion of the museographic renovation of the National Archaeological Museum, an important codex from the Department of Medieval Antiquities, known as the Huesca Bible, was restored. This article describes the work, both in terms of its intellectual and material values, and the determination and justification of the treatments carried out. The actions have followed the criterion of maximum respect for the integrity of the work, guaranteeing the minimum intervention and respecting and maintaining all the original elements.

The post The Huesca Bible, from knowledge to conservation first appeared on History Lab.

]]> Treasures of Oviedo and León. Stylistic problems, liturgy and iconography https://historylab.es/treasures-of-oviedo-and-leon-stylistic-problems-liturgy-and-iconography/?utm_source=rss&utm_medium=rss&utm_campaign=treasures-of-oviedo-and-leon-stylistic-problems-liturgy-and-iconography Thu, 01 Dec 2022 12:46:57 +0000 https://historylab.es/tesoros-de-oviedo-y-leon-problemas-estilisticos-liturgia-e-iconografiaenlace-externo-se-abre-en-ventana-nueva/ Sometimes the titles of styles lend themselves to confusion and lead to errors that are difficult to eradicate. This is the case of the treasure of San Isidoro de León, which, although it has come down to us in a much diminished state, originally represented a collection of artistic works of great quality and beauty. It was donated by King Ferdinand I and Doña Sancha to San Isidoro in 1063, that is, when the Hispanic liturgy, linked to tradition, was in full force.
The art should not be ascribed to the Romanesque style, which in the Hispanic kingdoms is fundamentally related to works after 1080, the year of the Council of Burgos, which imposed the use of the Roman liturgy. The Oviedo treasure, like the Asturian monarchy itself, refers back to the ancient Visigothic monarchy. The Visigothic kingdom of Toledo was a constant point of reference in the artistic and political projects emanating from the court of Oviedo. The survival of iconographic types, such as the Greek cross with pawed arms, in the most varied arts, as well as the continuity of certain offerings, is nothing more than a manifestation of respect for tradition rather than an interest in introducing new fashions. The custom of donating votive wreaths of the type found in the Guarrazar treasure survives during the reign of Fernando I.
The commissioning of a Beatus by the same monarch, which is the most genuine manifestation of Hispanic monastic liturgy, must also be considered to have survived. Romanesque art is reflected in some later, particularly important works, such as the Holy Ark in Oviedo Cathedral.

The post Treasures of Oviedo and León. Stylistic problems, liturgy and iconography first appeared on History Lab.

]]> Sometimes the titles of styles lend themselves to confusion and lead to errors that are difficult to eradicate. This is the case of the treasure of San Isidoro de León, which, although it has come down to us in a much diminished state, originally represented a collection of artistic works of great quality and beauty. It was donated by King Ferdinand I and Doña Sancha to San Isidoro in 1063, that is, when the Hispanic liturgy, linked to tradition, was in full force.
The art should not be ascribed to the Romanesque style, which in the Hispanic kingdoms is fundamentally related to works after 1080, the year of the Council of Burgos, which imposed the use of the Roman liturgy. The Oviedo treasure, like the Asturian monarchy itself, refers back to the ancient Visigothic monarchy. The Visigothic kingdom of Toledo was a constant point of reference in the artistic and political projects emanating from the court of Oviedo. The survival of iconographic types, such as the Greek cross with pawed arms, in the most varied arts, as well as the continuity of certain offerings, is nothing more than a manifestation of respect for tradition rather than an interest in introducing new fashions. The custom of donating votive wreaths of the type found in the Guarrazar treasure survives during the reign of Fernando I.
The commissioning of a Beatus by the same monarch, which is the most genuine manifestation of Hispanic monastic liturgy, must also be considered to have survived. Romanesque art is reflected in some later, particularly important works, such as the Holy Ark in Oviedo Cathedral.

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]]> Iconostasis and iconos https://historylab.es/iconostasis-and-iconos/?utm_source=rss&utm_medium=rss&utm_campaign=iconostasis-and-iconos Thu, 01 Dec 2022 12:46:57 +0000 https://historylab.es/iconostasio-e-iconos/ The iconostasis is, in the Orthodox world, the Western equivalent of the altarpiece, i.e. the framework in which the icons are inscribed, which are analysed in their hierarchical aspect and liturgical significance, as well as the progressive creation of new themes over the centuries. The evolution of the iconostasis from its birth to the present day is also analysed, emphasising the prominent role of Russia, through its great artists and derived schools.

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]]> The iconostasis is, in the Orthodox world, the Western equivalent of the altarpiece, i.e. the framework in which the icons are inscribed, which are analysed in their hierarchical aspect and liturgical significance, as well as the progressive creation of new themes over the centuries. The evolution of the iconostasis from its birth to the present day is also analysed, emphasising the prominent role of Russia, through its great artists and derived schools.

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]]> Late Medieval and Renaissance planetary and Hispano-Hebrew amulets from the National Archaeological Museum https://historylab.es/late-medieval-and-renaissance-planetary-and-hispano-hebrew-amulets-from-the-national-archaeological-museum/?utm_source=rss&utm_medium=rss&utm_campaign=late-medieval-and-renaissance-planetary-and-hispano-hebrew-amulets-from-the-national-archaeological-museum Thu, 01 Dec 2022 12:46:57 +0000 https://historylab.es/amuletos-planetarios-e-hispanohebreos-bajomedievales-y-renacentistas-del-museo-arqueologico-nacionalenlace-externo-se-abre-en-ventana-nueva/ This article presents the collection of late medieval and Renaissance amulets with magic squares from the National Archaeological Museum of Madrid, virtually unpublished to date. The planetary amulets depict various Greco-Roman deities syncretised with Hebrew angels (e.g. Venus-Anael or Jupiter Satchiel). The backs are occupied by magic squares, each symbolising the corresponding planet through a numerical combination. The pentagon amulets show on the obverse the face of Christ inserted in this geometrical figure. Their reverses are again occupied by magic squares, although the numerical values have been replaced by variations of the Name of God in Hebrew letters. This set offers an interesting insight into little-studied beliefs and practices that combine Renaissance symbolism, Hebrew tradition and classical heritage.

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]]>

This article presents the collection of late medieval and Renaissance amulets with magic squares from the National Archaeological Museum of Madrid, virtually unpublished to date. The planetary amulets depict various Greco-Roman deities syncretised with Hebrew angels (e.g. Venus-Anael or Jupiter Satchiel). The backs are occupied by magic squares, each symbolising the corresponding planet through a numerical combination. The pentagon amulets show on the obverse the face of Christ inserted in this geometrical figure. Their reverses are again occupied by magic squares, although the numerical values have been replaced by variations of the Name of God in Hebrew letters. This set offers an interesting insight into little-studied beliefs and practices that combine Renaissance symbolism, Hebrew tradition and classical heritage.

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]]> Presence of religious iconography on clerical tombs in the Burgos area https://historylab.es/presence-of-religious-iconography-on-clerical-tombs-in-the-burgos-area/?utm_source=rss&utm_medium=rss&utm_campaign=presence-of-religious-iconography-on-clerical-tombs-in-the-burgos-area Thu, 01 Dec 2022 12:46:57 +0000 https://historylab.es/presencia-de-la-iconografia-religiosa-en-los-sepulcros-del-clero-en-el-ambito-burgalesenlace-externo-se-abre-en-ventana-nueva/ The purpose of this work is to approach the religious mentality, beliefs and devotions through the study of the iconography applied to the sepulchres of the clergy, which as a whole constitute one of the fundamental sources of knowledge of late medieval spirituality. The choice of the Burgos area is due to the consideration that the most interesting collection in Castile is preserved there, both in terms of quantity and quality, and for this reason, knowledge of it can be useful, and also suggestive for establishing comparisons with other centres of activity in the Peninsula.

The post Presence of religious iconography on clerical tombs in the Burgos area first appeared on History Lab.

]]> The purpose of this work is to approach the religious mentality, beliefs and devotions through the study of the iconography applied to the sepulchres of the clergy, which as a whole constitute one of the fundamental sources of knowledge of late medieval spirituality. The choice of the Burgos area is due to the consideration that the most interesting collection in Castile is preserved there, both in terms of quantity and quality, and for this reason, knowledge of it can be useful, and also suggestive for establishing comparisons with other centres of activity in the Peninsula.

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]]> Secundum legem debet mori. The Prophets and the Trial of Jesus in Literature and Art https://historylab.es/secundum-legem-debet-mori-the-prophets-and-the-trial-of-jesus-in-literature-and-art/?utm_source=rss&utm_medium=rss&utm_campaign=secundum-legem-debet-mori-the-prophets-and-the-trial-of-jesus-in-literature-and-art Thu, 01 Dec 2022 12:46:57 +0000 https://historylab.es/secundum-legem-debet-mori-los-profetas-y-el-proceso-a-jesus-en-la-literatura-y-el-arteenlace-externo/ In Pamplona Cathedral, an image of Christ Crucified is venerated which presides over an original altarpiece from the beginning of the 16th century - no doubt recomposed in the 19th century - made up of sixteen patriarchs from the Old Testament wearing phylacteries, whose texts reveal their inspiration in the French late medieval Mysteries. The altarpiece of the Christ of Caparroso originally appeared, together with the altarpiece of Saint Thomas, in the funerary chapel of Pedro Marcilla de Caparroso, whose tombstone has recently been recovered. The extensive representation of prophets and other characters from the Old Law in the altarpiece of Santo Cristo has led me to propose as a possible source the Mystery Secundum legem debet mori, by Denis Roce, or some other lost text. This text forms part of the large number of Moralities and Mysteries throughout Europe, but which originated in France, based on verse 7 of chapter 19 of the Gospel of John Nos legem habemus et secundum legem debet mori. In the aforementioned Mystery, the theatrical foundation was sought for the prophets of the "well of Moses" of the Charterhouse of Charnprnol, some of whose verses appear in the Myst&e de Rouergue, whose main source is the Preces de Bélia, written in Aversa (Naples). The Virgin plays an extraordinarily active role in the process. She pleads with the prophets, as judges, the cause of her Son condemned to die. She hoped to obtain a favourable sentence from them in order to spare him death. The prophets, however, pronounced inexorable verses taken from their books. They all answer, by their respective prophecies, that in order to save men, Christ must die. Throughout this study I make an excursus on the various medieval sources of the Mysteries in Sermons and Meditations, which stirred society in the autumn of the Middle Ages.

The post Secundum legem debet mori. The Prophets and the Trial of Jesus in Literature and Art first appeared on History Lab.

]]> In Pamplona Cathedral, an image of Christ Crucified is venerated which presides over an original altarpiece from the beginning of the 16th century – no doubt recomposed in the 19th century – made up of sixteen patriarchs from the Old Testament wearing phylacteries, whose texts reveal their inspiration in the French late medieval Mysteries. The altarpiece of the Christ of Caparroso originally appeared, together with the altarpiece of Saint Thomas, in the funerary chapel of Pedro Marcilla de Caparroso, whose tombstone has recently been recovered. The extensive representation of prophets and other characters from the Old Law in the altarpiece of Santo Cristo has led me to propose as a possible source the Mystery Secundum legem debet mori, by Denis Roce, or some other lost text. This text forms part of the large number of Moralities and Mysteries throughout Europe, but which originated in France, based on verse 7 of chapter 19 of the Gospel of John Nos legem habemus et secundum legem debet mori. In the aforementioned Mystery, the theatrical foundation was sought for the prophets of the “well of Moses” of the Charterhouse of Charnprnol, some of whose verses appear in the Myst&e de Rouergue, whose main source is the Preces de Bélia, written in Aversa (Naples). The Virgin plays an extraordinarily active role in the process. She pleads with the prophets, as judges, the cause of her Son condemned to die. She hoped to obtain a favourable sentence from them in order to spare him death. The prophets, however, pronounced inexorable verses taken from their books. They all answer, by their respective prophecies, that in order to save men, Christ must die. Throughout this study I make an excursus on the various medieval sources of the Mysteries in Sermons and Meditations, which stirred society in the autumn of the Middle Ages.

The post Secundum legem debet mori. The Prophets and the Trial of Jesus in Literature and Art first appeared on History Lab.

]]> Ampullae: pilgrim ampoules at the National Archaeological Museum https://historylab.es/ampullae-pilgrim-ampoules-at-the-national-archaeological-museum/?utm_source=rss&utm_medium=rss&utm_campaign=ampullae-pilgrim-ampoules-at-the-national-archaeological-museum Thu, 01 Dec 2022 12:46:57 +0000 https://historylab.es/ampullae-ampollas-de-peregrino-en-el-museo-arqueologico-nacional/ In this paper we present an individualised study of a group of pieces connected very directly with the world of pilgrimages in general, and in particular with the saint Menas, patron saint of Christian Egypt from the 4th century onwards.

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]]> In this paper we present an individualised study of a group of pieces connected very directly with the world of pilgrimages in general, and in particular with the saint Menas, patron saint of Christian Egypt from the 4th century onwards.

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