Using light as fil rouge reuniting theology and ritual with the architecture, decoration, and iconography of cultic spaces, the present study argues that the mise-en-scène of fifth-century baptism and sixth-century episcopal liturgy was meant to reproduce the luminous atmosphere of heaven. Analysing the material culture of the two sacraments against common ritual expectations and Christian theology, we evince the manner in which the luminous effect was reached through a combination of constructive techniques and perceptual manipulation. One nocturnal and one diurnal, the two ceremonials represented different scenarios, testifying to the capacity of church builders and willingness of Late Antique bishops to stage the ritual experience in order to offer God to the senses.

Using light as fil rouge uniting theology, ritual, and cultic spaces, the present study argues that settings of fifth-century baptism and sixth-century episcopal liturgy were meant to reproduce the luminous atmosphere of heaven. One nocturnal and one diurnal, the two sacraments present us with different scenarios, testifying to the capacity of church builders and willingness of Late Antique bishops to stage the ritual experience.

Using light as fil rouge reuniting theology and ritual with the architecture, decoration, and iconography of cultic spaces, the present study argues that the mise-en-scène of fifth-century baptism and sixth-century episcopal liturgy was meant to reproduce the luminous atmosphere of heaven. Analysing the material culture of the two sacraments against common ritual expectations and Christian theology, we evince the manner in which the luminous effect was reached through a combination of constructive techniques and perceptual manipulation. One nocturnal and one diurnal, the two ceremonials represented different scenarios, testifying to the capacity of church builders and willingness of Late Antique bishops to stage the ritual experience in order to offer God to the senses.

Using light as fil rouge uniting theology, ritual, and cultic spaces, the present study argues that settings of fifth-century baptism and sixth-century episcopal liturgy were meant to reproduce the luminous atmosphere of heaven. One nocturnal and one diurnal, the two sacraments present us with different scenarios, testifying to the capacity of church builders and willingness of Late Antique bishops to stage the ritual experience.

The fall of Communism in Eastern Europe opened up a new future—for theology, too, not least in Romania, perhaps of all Orthodox nations the most open to the West. Young Romanian Orthodox theologians seized the opportunity to study and research in the West, availing themselves of mentors and resources hitherto denied them; some have settled in the West, others returned home. This welcome volume displays a theological revival as young Romanian theologians draw on tradition and address new problems. We can discern here a welcome confidence in the Orthodox tradition, no longer on the defensive nor concerned to mark itself off from the theology of the ‘West’. It is a ‘generous Orthodoxy’ (a term that has been used of the theological approach of the late Metropolitan Kallistos), ready to share its treasures with other Christians and eager to learn from them and engage with them.

Inscribing Faith in Late Antiquity considers the Greek and Latin texts inscribed in churches and chapels in the late antique Mediterranean (c. 300–800 CE), compares them to similar texts from pagan, Jewish, and Muslim spaces of worship, and explores how they functioned both textually and visually. These texts not only recorded the names and prayers of the faithful, but were powerful verbal and visual statements of cultural values and religious beliefs, conveying meaning through their words as well as through their appearances. In fact, the two were intimately connected. All of these texts – Christian, Jewish, Muslim, and pagan – acted visually, embracing their own materiality as mosaic, paint, or carved stone. Colourful and artfully arranged, the inscriptions framed human relationships with the divine, encouraged responses from readers, and made prayers material. In the first in-depth examination of the inscriptions as words and as images, the author reimagines the range of aesthetic, cultural, and religious experiences that were possible in spaces of worship. Inscribing Faith in Late Antiquity is essential reading for those interested in Roman, late antique, and Byzantine material and visual culture, inscriptions and other texts, and religious life in the ancient Mediterranean.

Inside Christian churches, natural light has been harnessed to underscore theological, symbolic, and ideological statements. This volume explores how the study of sunlight can reveal aspects of the design, decoration, and function of sacred spaces in the Middle Ages.