According to a longstanding interpretation, book religions are agents of textuality and logocentrism. This volume inverts the traditional perspective: its focus is on the strong dependency between scripture and aesthetics, holy books and material artworks, sacred texts and ritual performances. The contributions, written by a group of international specialists in Western, Byzantine, Islamic and Jewish Art, are committed to a comparative and transcultural approach. The authors reflect upon the different strategies of »clothing« sacred texts with precious materials and elaborate forms. They show how the pretypographic cultures of the Middle Ages used book ornaments as media for building a close relation between the divine words and their human audience. By exploring how art shapes the religious practice of books, and how the religious use of books shapes the evolution of artistic practices this book contributes to a new understanding of the deep nexus between sacred scripture and art.
The present work, it is hoped, will supply a want long felt in the literature of the Catacombs. That literature, it is true, is very voluminous; but it is for the most part locked up in rare and costly folios in foreign languages, and inaccessible to the general reader. Recent discoveries have refuted some of the theories and corrected many of the statements of previous books in English on this subject; and the present volume is the only one in which the latest results of exploration are fully given, and interpreted from a Protestant point of view. The writer has endeavored to illustrate the subject by frequent pagan sepulchral inscriptions, and by citations from the writings of the Fathers, which often throw much light on the condition of early Christian society. The value of the work is greatly enhanced, it is thought, by the addition of many hundreds of early Christian inscriptions carefully translated, a very large proportion of which have never before appeared in English. Those only who have given some attention to epigraphical studies can conceive the difficulty of this part of the work. The defacements of time, and frequently the original imperfection of the inscriptions and the ignorance of their writers, demand the utmost carefulness to avoid errors of interpretation. The writer has been fortunate in being assisted by the veteran scholarship of the Rev. Dr. McCaul, well known in both Europe and America as one of the highest living authorities in epigraphical science, under whose critical revision most of the translations have passed. Through the enterprise of the publishers this work is more copiously illustrated, from original and other sources, than any other work on the subject in the language; thus giving more correct and vivid impressions of the unfamiliar scenes and objects delineated than is possible by any mere verbal description. References are given, in the foot-notes, to the principal authorities quoted, but specific acknowledgment should here be made of the authorÕs indebtedness to the Cavaliere De RossiÕs Roma Sotterranea and Inscriptiones Christian¾, by far the most important works on this fascinating but difficult subject. Believing that the testimony of the Catacombs exhibits, more strikingly than any other evidence, the immense contrast between primitive Christianity and modern Romanism, the author thinks no apology necessary for the somewhat polemical character of portions of this book which illustrate that fact. He trusts that it will be found a contribution of some value to the historical defense of the truth against the corruptions and innovations of Popish error.
The Station by Robert Byron is Byron's in-depth record of his travels to Mount Athos, the spiritual heart of Eastern Orthodox Monasticism. Excerpt: "Letters from foreign countries arrive in the afternoon. Each envelope advertises a break in the monotony of days; each reveals on penetration only one more facet of a standard world. But latterly another kind has come, strangely addressed, stranger still within. "We learn," runs one, "that you are safely returned to your own glorious country and are already in the midst of your dearest ones, enjoying the best of health..."
"The Cathedral (French: La Cathédrale) (1898) is a novel by the French writer Joris-Karl Huysmans. It is the third of Huysmans' books to feature the character Durtal, a thinly disguised portrait of the author. He had already featured the character of Durtal in Là-bas and En route, which recounted his conversion to Catholicism. La Cathédrale continues the story. After his retreat at a Trappist monastery, Durtal moves to the city of Chartres, renowned for its cathedral. Huysmans describes the building in great detail" -- Wikipedia.
David Hilliard's God's Gentlemen, originally published in 1978, remains the only detached and detailed historical analysis of the work of the Melanesian Mission. Starting with its New Zealand beginnings and its Norfolk Island years (1867-1920), the work follows the Mission's shift of headquarters to the Solomon Islands and on until the beginning of the Second World War. The Mission, which grew out of the personal vision of the first Church of England Bishop of New Zealand, George Selwyn, formally defined its field of work as 'the Islands of Melanesia' although its activities were confined almo.
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