Here, Jennifer Scheper Hughes traces popular devotion to the Cristo Aparecido over five centuries of Mexican history. Each chapter investigates a single incident in the encounter between believers and the image.

What do you think of when you look at the cross and the crucifix? Do they hold sacred and religious value for you? After reading this book, your perception may change; the church's use of these symbols has for centuries concealed facts regarding their true origins. The author reveals these findings in this stunning expose. His research includes historical accounts of Christianity's conspiracy and divulges the true meaning of the cross as a satanic symbol. The author states: 'For centuries after Christ, the church and other religions that use cruciform symbols have misrepresented the physica.

Featuring more than twenty illustrations, including several works of art that were rediscovered by the author and are published here for the first time, The Female Crucifix: Images of St. Wilgefortis Since the Middle Ages provides a new perspective on a very old phenomenon. The legendary bearded female St. Wilgefortis, also known by a variety of other names including “Kummernis” and “Uncumber,” was the object of fervent veneration in areas of Western and Central Europe for almost half a millennium. Beginning in the fifteenth century, the legend of her dramatic transformation from a beautiful, privileged princess into a bearded, Christlike martyr on the cross inspired scores of paintings, sculptures, poems, prayers and shrines in her honour all across Europe. In spite of frequent opposition by the hierarchy of the Catholic Church, her cult of veneration at one point nearly rivaled that of the Virgin Mary in some parts of Europe. In this informative and groundbreaking new book, Professor Ilse E. Friesen examines the phenomenon of St. Wilgefortis from an art historical perspective, tracing the origins of depictions of the saint from an early medieval Italian statue known as Volto Santo, or “holy face,” through the emergence of increasingly feminized crucifixes over the course of the subsequent centuries. In particular, Professor Friesen focuses on an analysis of paintings, sculptures and frescoes originating in the German-speaking regions of Bavaria and Tyrol, where the veneration of the saint attained its peak. With its emphasis on art as situated in the context of religion, spirituality, mythology, popular literature and gender relations, this book will have wide appeal.

THE FIRST CHILLING NOVEL IN THE ACCLAIMED ROBERT HUNTER SERIES When the body of a young woman is discovered in a derelict cottage in Los Angeles, Robert Hunter is thrown into a nightmare case. The victim suffered a terrible death, and on the nape of her neck has been carved a strange double-cross: the signature of a psychopath known as the Crucifix Killer. But that's impossible. Because two years ago, the Crucifix Killer was caught and executed. Could this therefore be a copycat killer? Or could the unthinkable be true? Is the real killer still out there, ready to embark once again on a vicious and violent killing spree, selecting his victims seemingly at random, taunting Robert Hunter with his inability to catch him? Hunter and his rookie partner, Garcia, need to solve this case and fast. PRAISE FOR CHRIS CARTER 'Gripping . . . Not for the squeamish' Heat 'A page turner' Express

This book on Islam has an unusual perspective. It argues that a critically minded examination of Islam can help Christians achieve a deeper appreciation of the unique truths of their own faith. It draws on the author’s personal experiences living in Islamic countries and his fieldwork with persecuted Christian-minority communities, especially in Pakistan, Yemen, Egypt, and Indonesia. It includes the author’s own original translations of Islamic texts in Arabic, Persian, and Urdu, as well as primary-source materials in Latin that were written by Christian participants in the Crusades. The author focuses on Muslim interactions with the Christian tradition. He examines and takes issue with the misguided approach of those Christians and Muslims who, in the interests of Christian-Muslim rapprochement, minimize theological differences between the two faiths, especially in the area of Christology. Such attempts at rapport, he writes, do a profound disservice to both religions. Illustrating the Muslim view of Christ with Islamic polemical texts from the eleventh to the twenty-first centuries, the author draws on Hans Urs von Balthasar, and other theologians of kenotic Christology, to show how Islamic condemnations of divine "weakness" and "neediness" can deepen our appreciation of what is most uniquely Christian in our vision of Jesus as God-made-man, who voluntarily experiences weakness, suffering, and death in solidarity with all human beings. Both timely and urgently needed, The Crucifix on Mecca's Front Porch invites readers to reflect on the stark differences between Christianity and Islam and to appreciate the uniqueness of the Christian faith.

Few medieval images are as iconic, or as challenging, as the life-sized sculptural crucifixes that emerged in the Holy Roman Empire at the end of the tenth century. Striking at the fundamental mysteries of Christianity--the idea of a God made flesh, who died on the Cross and was resurrected after three days--these objects were made to attract attention and inspire veneration, and they exist in uneasy tension with medieval anxieties about idolatry and the cult of images. This volume presents new research on the Boston Crucifix, the earliest medieval crucifix in North America and one of the most significant examples of the genre, in dialogue with new directions in this field as a whole. Essays on the history, theology, style, condition, and provenance of early wood crucifixes are presented here together for the first time in a format that is intended as a major scholarly resource, but will also prove accessible to students and non-specialists who are curious about the origins of monumental crucifixes in the High Middle Ages.