TABLE OF CONTENTSPreface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VIII. REPRESENTATIONS OF THE HOLY SEPULCHREIntroduction. . . . . . . . . . . . . . . . . . 3A. The Holy Sepulchre as a Separate Church Building. . . . . 71. Constantine the Great's Church of the Holy Sepulchre . 72. Churches of the Holy Sepulchre in Western Europe. 12a. Background . . . . . . . . 12b. The pilgrimage period . . . . . . . . 14c. The period of the Crusades. . . . . . 25B. The Holy Sepulchre in the Interior of the Church 451. Background . . . . . . . . . . . . . . . . . . 452. Holy Sepulchres Modelled on the Anastasis Tomb in Church Interiors . . . . . . . . . . . . . . . . . . . . . . . . . . 473. Typology of the Holy Sepulchre in the Late Middle Ages. 53a. Background. . . . . . . . . . 53b. The altar as Holy Sepulchre . . . . . . 55c. The temporary Holy Sepulchre 56d. The moveable wooden Holy Sepulchre . 62e. The Holy Sepulchre in combination with a tabernacle . 68f The Holy Sepulchre in combination with a founder's tomb 77g. The Holy Sepulchre as a canopied monument 83h. The Holy Sepulchre as a separate recess in the wall. 90i. The Holy Sepulchre as a free-standing shrine . 102j. Conclusion. . . . . . . . . . . . . . . . . . . 1084. The Entombment Group . . . . . . . . . . . . 109C. Diversity of Representations of the Holy Sepulchre . 1171. Revival of Holy Sepulchre Buildings. 1172. After the Council of Trent. 1243. The Twentieth Century . . . . . . . 132VI THE SEPULCHRUM DOMINIIl. USE OF THE HOLY SEPULCHREIntroduction . . . . . . . . . . .A. The Liturgy in the Church of the Holy Sepulchre in Jerusalem 143B. The Function of the Holy Sepulchre in the Mediaeval Easter Liturgy of Western Europe. . . . . 1471. The ceremonial Easter Liturgy . 147a. Introduction . . . . . . . . . 147b. Adoratio crucis . . . . . . . . 150c. The ritual of depositio and elevatio . 151d Depositio. . . . 153e. Vigilia paschalis 165f Elevatio. . . . . 1672. The Easter Play. . 170C. The Holy Sepulchre as an Andachtsbild . 175D. Use of the Holy Sepulchre from the Middle Ages on 1811. After the Council of Trent . 1812. The Twentieth Century. . . . . . . . . . . . . . 188SUMMARY AND CONCLUSION . 193BIBLIOGRAPHY . . . . . 197LIST OF ILLUSTRATIONS . 205INDEX OF PLACES . 207PLATES . . . . . 215.

Composed in 404, Jerome's Epitaph on Saint Paula (Epitaphium Sanctae Paulae) is an elaborate eulogy commemorating the life of Paula (347-404), a wealthy Christian widow from Rome who renounced her senatorial status and embraced an ascetic lifestyle and in 386 co-founded with Jerome a monastic complex in Bethlehem.

This collection of essays considers artistic works that deal with the body without a visual representation. It explores a range of ways to represent this absence of the figure: from abject elements such as bodily fluids and waste to surrogate forms including reliquaries, manuscripts, and cloth. The collection focuses on two eras, medieval and modern, when images referencing the absent body have been far more prolific in the history of art. In medieval times, works of art became direct references to the absent corporal essence of a divine being, like Christ, or were used as devotional aids. By contrast, in the modern era artists often reject depictions of the physical body in order to distance themselves from the history of the idealized human form. Through these essays, it becomes apparent, even when the body is not visible in a work of art, it is often still present tangentially. Though the essays in this volume bridge two historical periods, they have coherent thematic links dealing with abjection, embodiment, and phenomenology. Whether figurative or abstract, sacred or secular, medieval or modern, the body maintains a presence in these works even when it is not at first apparent.

This book represents the outcome of the “Conference on Church Archaeology in the Baltic Sea Region” held in August 2013 in Turku, Finland, which, in turn, had its roots in the long tradition of Scandinavian Symposia for Nordic Church Archaeology, started in 1981 in Denmark. During the past few decades, the scope of church archaeology has expanded immensely and can presently be described as a multifaceted field of research. This book represents a convincing testament to this development. Every chapter gives a distinctive perspective on the theme of sacred monuments and practices written by leading experts in this field. As such, this volume offers unique insights into the study of religious life and its material aspects in the Baltic Sea Region, made available for English-readers for the first time.

Across the nine thematic chapters of Experiencing Medieval Art, renowned art historian Herbert L. Kessler considers functional objects as well as paintings and sculptures; the circumstances, processes, and materials of production; the conflictual relationship between art objects and notions of an ineffable deity; the context surrounding medieval art; and questions of apprehension, aesthetics, and modern presentation. He also introduces the exciting discoveries and revelations that have revolutionized contemporary understanding of medieval art and identifies the vexing challenges that still remain. With 16 color plates and 81 images in all—including the stained glass of Chartres Cathedral, the mosaics of San Marco, and the Utrecht Psalter, as well as newly discovered works such as the frescoes in Rome’s aula gotica and a twelfth-century aquamanile in Hildesheim—Experiencing Medieval Art makes the complex history of medieval art accessible for students of art history and scholars of medieval history, theology, and literature.

The crusades were among the longest and most bitter wars in human history and consisted of no less than seven major expeditions from Western Europe from the late 11th to the early 14th centuries for the purpose of wresting Jerusalem and the Holy Land from the control of the Muslims. In the end, it was the Muslims who won, and the Christians who suffered a major setback, and the Middle East remained firmly in Muslim hands. This was one of the worst clashes between different religions and civilizations and, for long, it was largely forgotten or brushed over. That is no longer the case, with many Muslims regarding Western interference in the region as a repeat of the crusades while launching their own jihads. So, while an old conflict, it is still with us today. Even at the time, it was very hard to understand the causes and outcome of the crusades, and that remains a problem today. This Historical Dictionary of the Crusades cannot claim to have resolved it, but it most definitely does make the situation easier to understand. The introduction provides an overview, tracing the crusades from one expedition to the next, and assessing their impact. The actual flow of events is far easier to follow thanks to the chronology. And maps help to trace the events geographically. The entries, and there are more than 300 of them in this second edition, look more closely at notable figures, including Pope Gregory VII, Richard “the lionhearted,” and Saladin, as well as important places (Jerusalem, Constantinople and others), events, battles and sieges, as well as the use of weapons and armor. The bibliography points to further reading.

Focusing on visual sources and the cultural landscape, Kersti Markus offers a fresh perspective on the Baltic crusades in Visual Culture and Politics in the Baltic Sea Region, 1100-1250. The book examines how visual propaganda was used by the Danish rulers as an instrument in establishing supremacy in the Baltic Sea region. In recent decades, Danish historians have highlighted the central role of the Valdemar dynasty and the bishops supporting them in the Baltic crusades, but visual sources show how the entire society was mentally prepared for a journey with redemption waiting at the end. A New Jerusalem was being built in Scandinavia, and the crusade to Livonia was conducted under the banner of Christ. See inside the book.