Relics (Religion)

Excavations in 2010 on the Black Sea island of Sveti Ivan (Bulgaria) revealed the remains of a miniature marble sarcophagus containing human and animal remains, along with an inscribed tufa ossuary, beneath a 4th to 5th-century church floor. We found that the tufa ossuary had strong links with Cappadocian rhyolite tuff. The inscriptions on its surface suggest links to John the Baptist since they refer to him by name and contain a reference to his nativity date of June 24. The ancient Greek text also mentions him in the genitive case, i.e. 'of Saint John'. Here, we review the historical evidence pertaining to the relics and conclude that they most likely reached Sveti Ivan via Constantinople during the 4-5th century CE. To shed more light on the relics, we sampled three of the remains for radiocarbon dating and ancient DNA analysis. Radiocarbon dating of one of the bones (a metacarpal) yielded a first century AD date (5-75 cal AD, 68.2% probability). Ancient DNA analysis of this bone, as well as a rib fragment and a tooth, using shotgun sequencing yielded very little human DNA, ranging between 0 and 0.9% of sequenced reads. However, the DNA did not show any of the post-mortem damage patterns that are typical for ancient DNA. We conclude that the sequences we obtained are most likely the result of modern contamination.

La breve scheda che Hugo Brandenburg dedica alla basilica dei Santi XII Apostoli nel suo noto volume “Le prime chiese di Roma. IV-VII secolo” è suddivisa in due parti. La prima parte fa riferimento all’arrivo delle reliquie dei due apostoli Filippo e Giacomo il Minore ai quali è dedicata la chiesa che, come si legge nell’incipit del testo, risalirebbe «attorno alla metà del V secolo», in relazione all’affermazione della liturgia stazionale le cui messe ab origine erano celebrate anche nella nostra basilica. La seconda parte, invece, enumera gli interventi edilizi più significativi a cui fino ad oggi è stato sottoposto l’edificio a partire da quello più antico documentato dal Liber Pontificalis nelle biografie di papa Pelagio I (556-561) e del suo successore Giovanni III (561-574) dai quali, secondo lo studioso, «più probabilmente [---] la chiesa fu interamente rinnovata».
L’ultima ricognizione canonica delle reliquie dei santi eponimi della basilica, eseguita nel 2016 e di cui si è offerto un resoconto preliminare nel volume degli Atti del Workshop di Roma 2020 sulle Reliquie importate a Roma tra papa Damaso e papa Pasquale I, ha confermato tra le altre cose che le reliquie furono traslate a Roma direttamente da Costantinopoli, nel caso di San Filippo, e da Gerusalemme, quelle di San Giacomo, per la titolazione dell’Apostoleion romano secondo un programma d’intesa politico-religioso tra l’imperatore Giustiniano (527-565) e papa Pelagio per celebrare la fine della guerra greco-gotica e la riconquista bizantina di Roma.
I successivi studi sul monumento, avviati nel 2020 e in corso d’opera per il mio dottorato di ricerca al Pontificio Istituto di Archeologia Cristiana, hanno del resto permesso di documentare nuove strutture murarie dislocate in diversi punti dei sotterranei (e annessi) della basilica che, acquisite con laser scanner di ultima generazione (Leica BLK 360) e posizionate topograficamente, si sono rivelate essere in connessione l’una con l’altra (anche per tecnica muraria) e riferibili a un unico complesso ascrivibile alla seconda metà del IV-prima metà del secolo successivo per l’impiego di mattoni spezzati e varicolori. L’inquadramento cronologico proposto e la tipologia costruttiva impiegata rendono il suddetto impianto distinto dal vicino complesso abitativo di piazza della Pilotta di età imperiale e scongiurano ogni rimando alla basilica costantiniana di papa Giulio quae est regione VII iuxta forum divi Traianum, diversamente da quanto sostenuto tra gli altri da Brandemburg: «la chiesa consacrata ai due apostoli, che quindi fu eretta già nel corso di questo secolo (metà del V secolo, n.d.a.) al posto della basilica Iulii».
Le evidenze murarie identificate, pur se in numero limitato, descrivono una sequenza ravvicinata di ambienti quadrangolari e rettangolari che rappresentano il fondamento della basilica apostolorum Philippi et Iacobi. Inoltre, questo schema reticolare dato dalle preesistenze archeologiche favorisce l’ipotesi di una pianta centrale della basilica paleocristiana, una tipologia architettonica di derivazione orientale e assolutamente innovativa nello scenario della Roma tardoantica, la cui esposizione non potrà prescindere dalla descrizione degli elevati conservati al di sotto della chiesa e nelle stanze ipogee adiacenti ad essa di pertinenza del convento.

Sans même remonter à un ensemble de travaux qui ont fait date (Vincent Tabbagh, Bruno Lemesle, Florian Mazel, Thierry Pécout…), les recherches sur le gouvernement et la sociologie de l'épiscopat médiéval ont connu un important renouvellement, spécialement pour le Midi de la France. Si le 60e colloque de Fanjeaux (7-10 juillet 2025) sur L'épiscopat du Midi : gouverner un peuple chrétien (XII e -XIV e siècle) en a offert un large panorama, celui-ci est loin d'avoir épuisé le sujet. À l'initiative de Damien Carraz (Université Toulouse

Il culto delle reliquie cristiane emerse come una forza dominante nell'Impero romano d'Oriente durante il IV secolo.1 Sebbene la venerazione presso le tombe fosse praticata da tempo, si verificò un cambiamento significativo quando l'élite di Costantinopoli iniziò a traslare resti fisici di santi e martiri nelle chiese, custodendoli in sfarzosi reliquiari per facilitarne la venerazione diffusa. Ciò fu particolarmente cruciale per Costantinopoli, la "Nuova Roma" fondata da Costantino nel 330. Nonostante la sua supremazia politica, la città mancava dell'eredità apostolica e delle tombe dei martiri di Roma o Gerusalemme.1 Per rimediare, la corte imperiale acquisì sistematicamente le reliquie più prestigiose, trasformando la città in un nuovo centro spirituale.1

Il santuario della Theotokos a Blacherne era il principale santuario mariano di Costantinopoli, un complesso tentacolare incentrato su una sorgente sacra che combinava un importante sito di pellegrinaggio, una cappella imperiale e il punto focale dell'ideologia difensiva della città.

Uitgegeven met steun van de Vlaamse overheid, de Universitaire Stichting van België en Musea en Erfgoed Antwerpen vzw. Redactie: lic. Paul Catteeuw (redactiescretaris; Kontich) dra. Sofie De Ruysser (Antwerpen), dr. Hester Dibbits (Amsterdam), prof. dr. Sophie Elpers (Arnhem), dra. Roselyne Francken (Antwerpen), prof. dr. Hans Geybels (Leuven), prof. dr. Marc Jacobs (Brugge), prof. dr. Maarten Larmuseau (Kessel-Lo), prof. dr. Theo Meder (Almere), dra. Jorijn Neyrinck (Brugge), dra. Hilde Schoefs (Bilzen), prof. dr. Annick Schramme (Antwerpen), dra. Els Veraverbeke (Gent), prof. dr. Johan Verberckmoes (Heverlee)

This chapter examines how Byzantine theologians negotiated sacred materiality across icons, eucharist, and relics during the late eleventh-century "Komnenian iconoclasm." Analyzing Emperor Alexios I Komnenos's 1094/95 synod against Leo of Chalcedon's controversial icon theology, the study reveals how Byzantine authorities strategically deployed the language of typos (imprint) to theorize divine representation while denying material divinization. Through close reading of liturgical commentaries (such as Nicholas of Andida's Protheoria), reliquary inscriptions, and Christopher of Mytilene's satirical poetry on fake relics, this investigation demonstrates how icons, eucharistic gifts, and relics were conceptualized as parallel representational systems rather than distinct ontological categories. The Mandylion-Keramion relationship exemplifies this paradigm, functioning simultaneously as icon and relic. Byzantine theologians emphasized divine energeia (activity) flowing through sacred objects while maintaining strict Chalcedonian distinctions between divine and material natures. This analysis contributes to understanding Byzantine materiality theory, sacred art, liturgical theology, and the complex negotiations between competing modes of divine presence in medieval Constantinople.

This essay argues that medieval opposition to the Shroud, per the critiques of Nicole Oresme and Bishop d'Arcis are better explained by economic relic competition than evidence of fraud, following patterns documented in other high-value relic controversies.

The famous caves of the Kyiv Pechersk Lavrathe Near, Far, and Varangian Cavesremain an enduring mystery in terms of their ideological and spiritual meaning. Excavated in loess soil at the dawn of the Kyiv-Pechersk Monastery's existence, they comprise long, winding corridors, with underground churches, monastic cells ("crypts"), and burial niches ("loculi") hewn into their walls. The caves are indeed an extraordinary place: here, space and time acquire an entirely different sense and dimension than on the sunlit surface above. Researchers have long been intrigued by the peculiarities of the caves' spatial organization. For instance, the existence of long underground corridors-apparently serving no practical purpose, since they lack living quarters or burial spaces-remains difficult to explain. Recently, we have proposed several new interpretations regarding this and many other aspects of the ideological and spiritual content of the Kyiv Lavra's caves.

The town of Durham in northern England owes its existence to the River Wear. Thirty kilometres south of Newcastle, it meanders around a peninsula that forms a natural fortress, enclosed on three sides by water. Monks begin in the eleventh century with the construction of the cathedral that towers high above the surrounding landscape. William the Conqueror turns this place into a citadel that for centuries forms a stronghold against imposing Scots. The small settlement becomes a city where powerful bishops hold sway. In the Middle Ages Durham expands beyond the peninsula and creates the infrastructure still present today. The concern for education is growing, culminating in the foundation of the University of Durham.

This article seeks to conceptualise relics and consolidate various methodological approaches to their study, in order to establish a framework for the development of relic studies. This builds on the author’s recent research on this subject, as well as on the numerous interdisciplinary case studies of relic material that he has led over the past decade. The article explores the questions What is a Relic? How should we study Relics? and Why is the study of relics important?

This article discusses one aspect of the depiction of rulers' sainthood in early Serbian and Old Bulgarian literature: the saints' martial feats, which are most often displayed as victories over other religions through the power of Christ's weapon, the Holy Cross. The post mortem miracles attributed to these ruler-saints create the image of the warrior saint descending to Earth to aid in battle. ____________________ В статье рассматриваются топосы изображения канонизированного правителя как воина с точки зрения двух основных средневековых жанров (жития и службы) и с точки зрения поэтики. Особое внимание уделено образу св. Георгия Победоносца, являющегося в болгарской и сербской литературах XIII в. моделью для изображения святого воина и защитника в битве. Статья состоит из трех частей: это анализ символики креста, топоса "победоносная битва" (осуществляется при помощи крестного оружия — щита и копья) и топоса "явление свыше" (когда в качестве помощник...

Fieldwork conducted in the Islamic Center of the North (Centro Islámico del Norte, or CIN) in Monterrey, Nuevo Leon, between 2015 and 2017, yielded several findings. First, it examined the reasons for women's conversion to Islam; second, it looked at the ways these women and their husbands raise their children under Islamic religious precepts. Thus, the author seeks to shed light on how this conversion and child-rearing take place within both Muslim and interfaith homes, dividing her discussion into three parts. The first contextualizes the women and men who make up these families and households and also discusses the Muslim community settled in Monterrey, of which they are members. The second provides an outline of interreligious and Islamic marriages, as well as what Islam has to say about marriage between Muslims and people of other religious faiths. The last section consists of a series of examples taken from interviews with Muslim women who are members of the CIN in Monterrey, Nuevo Leon. The narratives provide insight into how religious values are transmitted to children and young people, as well as the ways in which marriages initially considered interreligious sometimes become completely Islamic.

Catalogue de l’exposition « Reliquaire en chantier. La raison des gestes ». Elle présente les travaux de restauration en cours de la Grande châsse de
saint Maurice, l’un des reliquaires les plus importants du trésor de
l’Abbaye de Saint-Maurice d’Agaune. Elle se concentre sur l’étude
de la châsse, son état de conservation et les différentes phases de
transformation qu’elle a subies. Face à un objet d’art, l’historien
conduit un travail d’identification qui permet de le replacer dans
son temps et son lieu de création, c’est-à-dire de le dater et de le
localiser. Dans le cas de la Grande châsse, cette approche essentielle
est singulièrement compromise car l’objet, stylistiquement
hétérogène, n’offre pas de programme iconographique précis et
présente un aspect composite qui révèle clairement des strates
chronologiques distinctes. L’état « bricolé » du reliquaire et les
diverses traces de réutilisation et de réparation que l’on peut
observer ici et là, ont amené la plupart des auteurs à considérer
qu’il avait été, sinon fabriqué du moins fortement transformé au
XVIIe siècle, en réutilisant des fragments originaux de reliquaires
médiévaux. Bien qu’il ait été récemment prouvé que cela n’est pas
le cas, il reste néanmoins difficile d’approximer la date et le lieu de
fabrication de cet objet composite en utilisant les instruments
habituels de l’histoire de l’art, à savoir les comparaisons iconographiques
et l’analyse stylistique, puisque les réponses proposées
jusqu’ici restent peu satisfaisantes

Dr. Damodar Dharmananda Kosambi (1907-1966) was an Indian polymath best known for his intellectual contributions in a dizzyingly wide range of fields: mathematics, statistics, genetics, numismatics, history, and literature. His enduring reputation seems to have been posthumously sealed as the father of Marxist historiography in India. What has received scant scholarly attention, however, is his role as a key voice of the Indian peace movement after Independence and a crucial liaison between Indian peace activists and the Soviet-aligned world peace movement in the 1950s. Kosambi's politics, characterized both by his association with the undivided Communist Party of India and his arm's-length collaboration with the Government of India, afforded him a unique semi-official, fellow-traveling position to argue for nuclear disarmament and protest wars of aggression. This paper would argue that he consciously refused to be co-opted by either post-colonial nationalism or conformist international communism to advance an Asia-centric perspective on world peace that has now been largely occluded from mainstream accounts of postwar pacifism. This paper would also argue that by leveraging a now-forgotten infrastructure of transnational peace advocacy and interlocking circuits of activism at the local and national levels, Kosambi effectively foregrounded and vernacularized his own ideas of world peace premised on principled non-interventionism. Through a close reading of his extant essays, reports, speeches, and correspondence throughout the 1950s, I would posit that Kosambi's vision for world peace was imbued with a third-world internationalist sensibility that squarely located the roots of warfare in world hunger and structures of imperialism. In so doing, he went far beyond the Afro-Asian promise of the Bandung Conference (1955) when it came to arguing for what is now called 'South-South solidarity.' I further contend that, through his dutiful and maverick peace activism (prior to disillusionment in the 1960s) and increasingly radical critique of nuclear energy, Kosambi also anticipated several talking points of the Non-Aligned Movement, especially those that would only come to the fore in the Belgrade Summit (1961).

The Shroud of Turin is a fourteen-foot-long cloth bearing the life size image of a man with blood marks and has been heralded as the most scientifically studied archaeological artifact in human history.  The Shroud has been proclaimed to be either the actual burial cloth of the historical Jesus of Nazareth or a cunning medieval forgery.  In several recent television programs that received widespread international media attention, a “Shroud expert” made the claims that the blood on the Shroud has been demonstrated to be human, male, and type AB, and was identified as Semitic.  Additionally, it was reported that high levels of ferritin and creatine, indicative of polytrauma, had been found on the cloth and that premortem and postmortem blood had been identified. Discussed below is a scientific fact check about such characteristics of the blood on the Shroud of Turin and the capabilities and limitations of the techniques used in these investigations.

Мета статті полягає в розкриті історії богослужбового облачення, що нині зберігається у фондах Чернігівського історичного музею ім. В. Тарновського – сакосу святителя Феодосія, архієпископа Чернігівського. Особлива увага приділяється питанню визначення на основі аналізу доступних документів найімовірнішого місця зберігання сакосу до моменту його надходження до музейних фондів. Стаття ґрунтується на загальнонаукових методологічних принципах історичності, цілісності та об’єктивності. Вони реалізуються через застосування історико-критичного, порівняльно-аналітичного та логічного методів. Наукова новизна: історія сакосу та шлях його надходження до музею раніше не досліджувалися. Тривалий час в облікових документах атрибуція богослужбової шати залишалася хибною: були неправильно визначені вид облачення та час його створення, не було встановлено, що воно належало святителю Феодосію Чернігівському.
  Висновки. Опрацьований матеріал дозволив встановити, що сакос походить з ризниці архієпископа Феодосія Углицького, визначити Спасо-Преображенський собор як найбільш вірогідне місце зберігання сакосу до 1925–1926 рр. – часу, коли він за обґрунтованим припущенням міг бути взятий до колекції музею в результаті експедицій наукових співробітників по церквах Чернігова.

The purpose of the article is to reveal the history of one liturgical vestment, currently kept in the collections of the Chernihiv Historical Museum named after V.V. Tarnovskyi – the sakkos of Saint Theodosius, Archbishop of Chernihiv. Special attention is paid to the issue of determining, based on the analysis of available documents, the most likely place of storage of the sakkos until its entry into the museum collections. The article is based on the general scientific methodological principles of historicity, integrity, and objectivity. They are implemented through the use of historical-critical, comparative-analytical, and logical methods. Scientific novelty: the history of the sakkos and the way it came to the museum have not been studied before. For a long time, the attribution of the liturgical vestment in accounting documents remained incorrect: the type of vestment and the time of its creation were incorrectly determined, and it was not established that it belonged to Saint Theodosius of Chernihiv.
Conclusions. The processed material allowed us to establish that the sakkos comes from the sacristy of Archbishop Theodosius Uhlytskyi, to identify the Saviour-Transfiguration Cathedral as the most likely place of storage of the sakkos until 1925-1926 - the time when, according to a reasonable assumption, it could have been taken to the museum collection as a result of expeditions of scientific staff to the churches of Chernihiv.

यह शोध ब्रेस्ट टैक्स पर आधारित है जो कि वर्तमान समय में लोगों द्वारा बहुत जोर-जोर से प्रचारित किया जा रहा है। कुछ लोगों का कहना है आज से 100 साल पहले तक दलित महिलाओं को अपना स्तन ढकने का अधिकार नहीं था इस मिथ्या को उजागर करने के लिए यह स्रोत प्रस्तुत किया जा रहा है जिसमें कई लेखको एवं विद्वान जनों के लेख का सहारा लिया गया है।

Jusepe de Ribera's Martyrdom of St Lawrence is a mystery. In contrast to canonical representations based on Jacopo de Voragine's Golden Legend, in which Lawrence endures torture with miraculous calm, Ribera emphasises human vulnerability and conflict. The saint's emaciated body dominates the picture plane, surrounded by tormentors busily preparing him for the grill. The figures form a pinwheel configuration with a black void at its centre -created by smoke and shadow -which heightens Lawrence's isolation. Characteristic of Ribera is a violence that is both evoked and repressed; a paradox enhanced by a series of contradictions. 1 The saint's powerfully illuminated body is the site of spiritual trial, yet the grill itself recedes into obscurity -a powerful metaphor for preparation for martyrdom, rather than its triumphant conclusion. Lawrence's fortitude and steadfastness in suffering are complicated by the instability of his contorted body. Stripped of his dalmatic deacon's robe, he appears vulnerable before his executioners. The rejection of conventional markers of sanctity -the laurel crown, angels and full display of the gridiron -as well as the apparent absence of divine consolation invites the viewer to contemplate the nature of redemptive suffering. Pictorial and theological evidence suggests the Martyrdom may have served as the high altarpiece at San Lorenzo in Lucina, Rome, before it was replaced with Guido Reni's Crucifixion in 1675. 2 Ribera was residing in Rome in the early 1610s and documented living in the parish of San Lorenzo in Lucina by 1613, seven years after the church was granted to the Clerics Regular Minor (Caracciolini) by papal decree. 3 According to the Breve Relatione, an account of the sacred relics preserved in the church, written by a congregation member in 1675, the gridiron and chains used for Lawrence's martyrdom, the ampullae of his blood, fat and burned flesh, were all housed beneath

Capa | "Menino a tocar shofar montado em pássaro". Braga, Jardim Formal do Museu dos Biscainhos, séc. XVIII. "O Jardim da Casa dos Biscainhos é um dos testemunhos mais expressivos do jardim Barroco, com notáveis introduções em estilo Rococó, que sobreviveram em Portugal. A fonte é uma das quatro fontes laterais do jardim formal e encontra-se no lado sudoeste. Tanto a fonte do terreiro como a central do Jardim formal serão de autoria do arquiteto André Soares (1720-1769)". J.Filipe Ferreira, Coordenador do Serviço Educativo e Mediação Cultural do Museu dos Biscainhos. Foto de A. Amorim Publicação financiada pela Fundação para a Ciência e Tecnologia (referência UIDP/00305/2020) Apoio | Câmara Municipal de Braga Impressão | Gráfica Papelmunde Nota dos editores: Os direitos de utilização das imagens são da responsabilidade dos autores. Depósito Legal ISBN 978-972-8063-68-9 Outubro de 2020 OUVIR E ESCREVER AS PAISAGENS SONORAS -ABORDAGENS TEÓRICAS E (MULTI)DISCIPLINARES UMA NOVELA (1554), UMA CRÓNICA (1557) E UMA RELAÇÃO (1588) COMO SE ESCREVEM PAISAGENS SONORAS? 1 ANTÓNIO CAMÕES GOUVEIA 2 CHAM-FCSH/NOVA-UAc; CEHR-UCP construção e compreensão de paisagens sonoras históricas da época moderna tem uma relação imediata com a documentação escrita ou visual, ou seja, documentação não-sonora. Por outro lado, a sua dimensão histórica ao depender de corpos documentais textuais, manuscritos ou impressos, e de visualizações iconográficas, esculturais ou pictóricas, deverá sujeitar-se a todo o processo crítico e interpretativo operado nos saberes das áreas das artes sociais e humanas em que a história se inscreve. Com base nestas duas constatações, tão evidentes quanto conhecidas, o que se procurará aqui perceber será a implicação das obrigações retóricas e outras, que os géneros literários desenham, na documentação dos sons. Para mais, os casos situados entre o século XVI e o XVIII, uma época longa apesar das suas variações conjunturais e de sociabilidades, detêm uma marca retórica cada vez melhor conhecida na dimensão de poder intelectual, e mesmo quotidiano, afirmativo, algo impositivo, ao mesmo tempo que enquadrador e limitativo ou amplificador. Foi já em 1967 que Vítor Aguiar e Silva publicou a sua Teoria da Literatura 3 . A Teoria vinha na linha da muito divulgada Teoria da Literatura de Wellek e de Warren, editada pela primeira vez em 1948, traduzida para português só em 1962 4 . Hoje a obra, com múltiplas edições e reimpressões, sempre cuidadosamente actualizada em conteúdos e bibliografia, marcou gerações de leitores e de estudiosos e continua a ser um exemplo de síntese, clareza e ponto de partida para pesquisas actuais, ainda que sobre si tenham passado mais de cinquenta anos. A estrutura da obra é muito simples e bem construída. Sistematicamente Aguiar e Silva vai conduzir o seu leitor do conceito de literatura até às problemáticas do estruturalismo. Este percurso é marcado pela apresentação, em grandes capítulos sub-títulados, das funções da literatura, das formas de criação poética, dos géneros literários, dos problemas e ds analítica das periodizações literárias, ou da 1

4. Makeev S. A. L'analyse des classes dans la sociologie moderne / S. A. Makeev // Sociologie : théorie, méthodes, marketing. -2001. -N° 3. -pp. 5-22. 5. Makeev S. La structure des classes de la société moderne / S. Makeev, O. Symonchouk // Les vecteurs du changement dans la société ukrainienne / sous la direction de V. Vorony, M. Shulga. -Kyiv : Institut de sociologie de l'Académie nationale des sciences de l'Ukraine, 2014. -pp. 110-134.

The geographic dispersal of specific body-parts from the corpse of a slain deity, mythic man-beast or Dreaming Ancestor is a trope common to ancient Egyptian, medieval Irish and present-day Indigenous Australian mythology, respectively. This paper presents examples from each of these three domains, and uses the selected narratives – none of which have hitherto been juxtaposed – to explore the ways in which mythic anatomy can be re-imagined as religious or cultural geography and mapped onto the land. In Egypt, the god Osiris is murdered and dismembered by his brother Seth, who hides the numerous body-parts in different locations throughout the Two Lands. In Ireland, the main epic of the Ulster Cycle – the Táin Bó Cuailnge – ends with the Brown Bull of Cooley killing the White-Horned Bull of Ai and scattering the latter's horns, bones and innards in different locations on his journey homeward. The Djabugandji people of the Barron River region in Northern Queensland have a prominent Dreaming in which the Ancestral carpet-snake Buda-dji is chopped into many pieces by three envious bird-men, who throw the segments in all four directions; they become landforms which range from the coast to the Tablelands. For each culture, such narratives serve to connect and unite disparate settlements and/or sub-populations; indeed, the Queensland songline crosses a language boundary, as does a supplementary example from the Australian Central/Western Desert. The mythic entity's body-parts – which tend to proliferate over time, accompanied by an expansion in the myth's geographic footprint – are often reflected in local toponyms, although sometimes only via belated folk etymologies. The intercultural comparison presented here spans three continents and four millennia, suggesting that the trope enjoys near-ubiquitous distribution; the scattered corporeal relics of Christian saints may constitute a historical extension of the same impulse. Overall, the trope probably represents a local reflex of the widespread cosmogonic paradigm in which a primordial being is sacrificed and its body-parts are used to create the world.

La procédure ici consistera à présenter les principaux types généralement reconnus de vues
millénaristes. J'examinerai ensuite quelques facteurs de complication, le prétérisme et l'historicisme,
qui sont généralement considérés comme des points de vue millénaristes en eux-mêmes, mais qui sont
surtout apparus comme des aspects des principaux types que nous examinerons d'abord. Nous verrons
ensuite une autre façon de classer les points de vue millénaristes, en fonction de leur approche
interprétative des symboles. À ce stade, je serai prêt à examiner les idées millénaristes d'un auteur
spécifique en passant en revue le livre de Kim Riddlebarger, The Man of Sin.

The present article focuses on the presentation and discussion of the research we are currently developing as part of our doctoral thesis. Which centers on the study of the administration, organization, and articulation of secular and ecclesiastical justice in the territories overseen by the military orders of Avis and Santiago, located south of the Tagus River, between the reigns of Afonso IV (1325-1357) and João II (1481-1495). We aim to provide a summary overview of the thesis project, through a preliminary discussion and reflection on its historiographical framework, the multiple topics and research lines to explore, the selection process of the sources, and the adopted methodological solutions.

Il 28 agosto 2025 un articolo uscito sulla rivista "Journal of Medieval History" a firma di Nicolas Sarzeaud, ricercatore presso l’Università cattolica di Lovanio, ha reso nota l'avvenuta identificazione della prima fonte in assoluto che menziona la Sindone oggi conservata a Torino. Ho accolto volentieri la proposta di redigere un testo che spieghi nel modo più chiaro possibile in che cosa consiste tale scoperta e in che modo può modificare la nostra conoscenza dei primi anni della storia della Sindone di Torino.

A hagiografia de Santa Senhorinha de Basto é conhecida actualmente através de três textos copiados no século XVI, sendo dois deles latinos provenientes de Coimbra, ambos transcritos nos Portugaliae Monumenta Historica, o mais antigo oriundo do mosteiro do ...

di Andrea Nicolotti (professore ordinario di Storia del Cristianesimo e delle Chiese - Università di Torino) ---o--- Il 28 agosto 2025 è stata data la notizia della scoperta della prima menzione in assoluto della Sindone, oggi conservata a Torino. Si tratta di un breve testo inserito all'interno di uno scritto del filosofo medievale Nicola di Oresme, databile al 1370 circa. Pur trattandosi di un passaggio (foto sotto) apparentemente trascurabile per la sua brevità, è un importante tassello nella ricostruzione dei primi decenni dell'esistenza della Sindone.

per il 'Maestro dei Mesi di Ferrara' Ilaria Bichi Ruspoli Ascanio Covatti, virtuoso scalpellino cortonese nella Siena di primo Seicento. L'esaltazione del marmo fra identità sfuggenti, sperimentazioni tecniche e interferenze di ruoli Contributi: Anna Maria Riccomini Le raccolte archeologiche torinesi nel diario di Luigi Lanzi (1794): il Museo di Antichità, le collezioni dell'abate Carlo Antonio Pullini e del commendator Modesto Genevosio Enea Abbaticchio Una proposta per Francesco Fanelli: il busto di Ettore Vernazza nella sede del Consiglio Notarile di Genova Bruno Carabellese Il ciclo di affreschi dei Carracci a palazzo Magnani: una possibile fonte per Diego Velázquez durante il suo primo viaggio in Italia Giovanni Morciano Tre proposte per Giusto Fiammingo, alias Joost de Pape, e qualche riflessione per la sua identificazione

La tesis se divide en cuatro bloques que pretenden analizar el fenomeno de las reliquias en general y del Santo Caliz en particular. El primero, mas general, se centra en la historia de las reliquias a nivel internacional. La segunda parte es un analisis y estudio de la repercusion que los acontecimientos internacionales tenian en la devocion a las reliquias en la Peninsula Iberica. En el siglo IX se produce en la Peninsula la aparicion coincidente de las reliquias de Santiago de Compostela, las de San Isidoro de Leon y las de la Camara Santa de la Catedral de Oviedo. Con ello Espana se integraba plenamente en la Cristiandad europea y en las rutas de peregrinacion. Es entonces cuando aparece la reliquia del Santo Caliz de la Catedral de Valencia. Una vez analizada la repercusion historica de la devocion a las reliquias en la Peninsula Iberica, la tesis se centra en el estudio de estas piezas en el contexto de la Corona de Aragon. Tambien se realiza un recorrido esquematico por el mo...

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

Many scholarly articles claim that the pilgrimage to Santiago de Compostela was moribund at the turn of the last century based on statistical surveys of the Cathedral and Hospital Real registers, but these numbers only represent a fraction of the persons who devoutly visited Santiago Cathedral. In reality, the late nineteenth and early twentieth century pilgrimage as described by five turn-of-the-nineteenth-century female authors.- Emilia Pardo Bazán, Katherine Lee Bates, Georgiana Goddard King, Annette Meakin, and Catherine Gasquoine Hartley - is itself in a liminal state, between the traditional pilgrims to Santiago de Compostela and the newer tourist-pilgrim. The writings by these women (one Spanish, two British, two American) tell of a pilgrimage that was not dead, nor dying but was more similar to today’s Camino than might have been imagined

The volume explores the main features of Judaism, Christianity, and Islam in the artistic field, arising from a constant dialectic between official norms and their practical translations. Such a fascinating but complex historical process can only be understood when observed in the light of the dynamics that have developed in the relational sphere. Great attention is therefore paid to circumstances related to relations with the ‘other’, both external and internal. Particular emphasis is also given to the ways in which the encounter between the theological category of ‘idolatry’ and the vast field of artistic processes has contributed to giving an original direction to the aesthetic practices of the three monotheistic religions. This research, developed using an interdisciplinary methodology, is based on the conviction that mutual knowledge and esteem between religions is enriched not only by theological and life dialogue, but also by aesthetic dialogue.

The Shroud of Turin, long dismissed as a medieval forgery, has a documented history that stretches far earlier than the fourteenth century. When the evidence is viewed as a continuous chain, a striking narrative emerges: the burial cloth of Christ, first venerated in Edessa as the Mandylion, praised for saving the city from invasion in 544, witnessed by Arculf in Jerusalem in 670, transferred to Constantinople in 944, inventoried and illustrated throughout the Byzantine era, seen by Crusaders in 1204, safeguarded by the Knights Templar, and finally displayed in Lirey in the 1350s. Art, liturgy, and testimony all converge on the same relic, corroborated today by scientific dating methods that point back to the first century. This essay reconstructs the Shroud’s journey from Jerusalem to Turin, presenting a case that its antiquity and authenticity are far better supported than its detractors admit.

This article draws attention to the discursive ways in which the meaning of relics is made and remade in medieval texts by considering the issue of consent in the lives and afterlives of female martyrs as similarly narrative and subject to problematic mediation by the medieval Church. If relics and reliquaries signify primarily through written discourse, should we read a saint’s posthumous consent as similarly discursive, brought into being by the body’s very possession by the Church and the attribution of miracles through oral and written discourse? Does the process of sanctification assume consent a priori ? Does the often fragmentary or diluted nature of a saint’s relics seemingly elide the necessity of consent? This article considers how the post-sanctification treatment of female saints’ relics reinforces the patriarchal structures of the medieval Church. Relying on an assumption that consent, once given, cannot be withdrawn, the Church’s rituals surrounding relics in the Middle Ages replay the torture and violation script after the virgin martyr’s death, ignoring the women’s resistance to those violations inflicted on them in life. These rituals also served to enrich the medieval Church at the expense of women’s consent.