Altar In Church Research Articles

A Study on the Construction Process of Nonsan Catholic church in the Rev. Singer.

본고는 1961년에 완공된 논산성당(루르드의 성모 성당) 건립의 배경 과 추진 과정을 고찰한다. 논산지역은 18세기 말부터 천주교 신앙이 전 파되었고, 1921년 본당 승격으로 이어졌다. 이후 지속적으로 성장한 교 세는 강경본당이 분리되고, 6.25전쟁이 발발하였음에도 불구하고 1950 년대 말에 이르러 3천명에 육박하였다. 당시 주임이었던 생제 신부는 많은 신자들을 수용할 수 있는 새 성당 건립을 추진하였다. 원설계는 프랑스인 Lucien Beun이 하였고, 실시설계는 한국인 건축가 이희태가 맡았다. 공사는 1958년 5월 정지작업을 시작으로 1960년 2월 초석 축복, 이어서 1961년 10월 11일에 봉헌식을 가졌다. 성당 제단부 에는 신비적 아름다움을 더하기 위하여 프랑스 유리화 장인 앙투안 베 사크가 제작한 ‘루르드의 성모’ 발현 장면이 스테인드글라스로 장식되 었다. 성당의 건립에는 다양한 인물들의 협조와 노력이 있었다. 건축에 직접 참여한 건축가와 예술가 외에도 이들을 소개하고 비용을 부담한 후원자This paper examined the construction process of Nonsan Catholic Church (Notre Dame de Lourdes), which was completed in 1961. In the Nonsan area, the Catholicity spread from the end of the 18th century, and Catholic communities are promoted as parish in 1921. Since then, the congregation has been expanded and gathered 3,000 believers by the end of the 1950s even though Ganggyeong Parish has been split and the Korean War has broken out. Father Singer, who was the head of the church at the time, propelled the construction of a new church that could accommodate a large number of believers. It was originally designed by Frenchman Lucien Beun, and the final design was done by Korean architect Lee Hee-tae. The construction has begun in May, 1958 with flattening the land, and blessing ceremony has been held in Feb, 1960 and dedicatory ceremoy in Oct 11, 1961. The scene of ‘Notre Dame de Lourdes’ was decorated with stained glass created by French glass-painting artist Antoine Beyssac to add mystical beauty in the church altar. For the construction of the church, many people supported and poured efforts. In addition to the architects and artists who participated in the construction, there were sponsors who introduced them and paid expenses, and a great support of the Vatican. As representative sponsors, there were Chang-myon, who was the vice president at the time, Thams Chang, dean of Fine Arts, Seoul National University, and priests and believers from Hesdin Church, the hometown of Father Singer. And with the active support of Father Singer and Nonsan believers, the church was successfully completed. Domestic and foreign renowned politicians and the old villagers sacrified and cooperated for the establishment of Nonsan Catholic Church and it has become an internal component of the monu-mental architecture. In addition, Nonsan Church is the first modernist church built in Chung- nam. As modernist architecture, which is practical and simple aesthetics for city reconstruction was popular in the West after the war, Nonsan Catholic Church is an important example that led the modernist church architecture early in Korea.

Icelandic Folklore and the Cultural Memory of Religious Change

Icelandic Folklore and the Cultural Memory of Religious Change

From Candlelight to Kerosene Lamp

Hans-Georg Gadamer reads Georg Trakl’s “Ein Winterabend” (“A Winter Evening”) almost in the way Martin Heidegger does, but he alters Heidegger’s interpretation of a single image in the poem. Whereas Heidegger sees the image “Golden blooms the tree of grace” in terms of candlelight on a church altar, Gadamer sees it as the glow of a kerosene lantern, perhaps in a country inn. That one alteration, this essay argues, brings Gadamer closer to the Trakl-world than Heidegger ever manages to be.

Inhibition of bacterial growth on marble stone of 18th century by treatment of nanoencapsulated essential oils

Controlling of cultural heritage biodeterioration is a serious problem in the world. Chemical biocides, used to kill unwanted microorganism, can represent a risk for human health and environment, and interfere with the restoration material. Natural biocides could represent a valid alternative to conventional ones. In this study we report the use of nanocapsules suspensions (NCs) loaded with Origanum vulgare and Thymus capitatus essential oils (EOs) to contrast the development of bacterial growth of two microrganisms (Escherichia coli and Kokuria rhizophila) on the marble stone from 18th century church altar. No structural change was observed on the stone after treatment with the aqueous suspension containing nanoparticles as evidenced by SEM-EDX analysis. The nanostructurate systems (EO-NCs) were able to inhibit the bacterial grow on the stone pretreated with bacterial inoculum as showed by agar discs contact test. Nanocapsules, based on biodegradable and biocompatible polymer (poly(ε-caprolactone)), loaded with thyme EO are more efficient than nanocapsules loaded with oregano EO. The obtained results evidenced the potential of these natural biocides in the treatment of biodeteriorated cultural heritage.

From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic

Although traditionally associated with Eastern Christianity, the practice of venerating icons became deeply rooted in the Catholic societies of the broad Adriatic region from the Late Middle Ages onwards and was an indispensable part of everyday popular piety. The evidence lies in the massive amount of icons located today in public and private collections throughout the Italian Peninsula, Croatia, Slovenia, and Montenegro. At a time when Greeks were branded as “schismatics”, and although the Byzantine maniera greca had become obsolete in Western European art, icon painting managed to survive at the margins of the Renaissance, and ultimately went through its own renaissance in the sixteenth century. Omnipresent in Catholic households, icons were very often donated to churches as votive offerings and were gradually transformed into the focal points of collective public devotion. Through the combined study of visual evidence, archival records and literary sources, this article will shed light on the socio-political, confessional, and artistic dynamics that allowed for Byzantine or Byzantinizing icons to gain unprecedented popularity throughout the Catholic milieus of the Late Medieval and Early Modern Adriatic, and become integrated into domestic and public devotional practices.

By hand and by voice: performance of royal charters in eleventh- and twelfth-century León

In this article I examine the public granting of royal charters in eleventh- and early twelfth-century León as an event that expressed and created ideas of royal kingship and legitimacy. The charter was not merely a record of a royal act; rather, it was a central part of an event, a ritual that engaged all the senses of those assembled at court by the monarch. Scholars have already noted that charter-granting was often accompanied by certain gestures: the laying of the document on a church altar, for example, or the conveyance of an additional object that represented the property or privilege being bestowed. The Leonese context, however, reveals a ritual that is much more complicated, sophisticated, and powerful than might be expected. Central to this ritual is the language of the charter – language that was at this time and place understood by those present. The charter is read aloud and a complex play ensues: a play between formula and innovation, orality and writing, and between the reader's voice and the king's word. There are several layers of performance enacted, and the actors include those assembled at court, who assent not only to the legal act the document was written to realize, but also to other aspects of the charter: ideas of kingship, religious declarations, and specific visions of history. The assembly becomes a field in which power is confirmed. Central to the ritual power of the event is the religious language in the charter, which sacralizes the act and gives it a quasi-liturgical character, and endows the monarch with religious as well as political power.

PROSES SEMIOSIS PADA ALTAR GEREJA HKBP SURABAYA

Huria Kristen Batak Protestant is the largest Protestant church of the Lutherian denomination in the Batak society that was historically formed as a result of the RMG mission (Reinische Missions-Gesselschaft) from Germany. Apart from evangelising, their missions also brought in the building typologies of RMG churches in Germany to their Batak land, which can evidently be sensed from the HKBP church in Pearaja, Tarutung, Sumatera Utara. HKBP Pearaja has thus been a typological reference for many HKBP church builders throughout Indonesia, including HKBP Surabaya, in terms of their architectural and interior designs. This research is a qualitative study using the descriptive method of analysis and the approach of semiotics. The approach was adopted by Charles Sanders Peirce and this has been combined with theological intepretation to discover the relationships between the signs and symbols observed in the altar of HKBP Surabaya. This apprach emphasizes on the process of Semiosis that has taken place in the design of the church’s altar resulting in the formation of icons, index and symbols in the overall arrangement of the altar. Icons appear to be the most dominant form of signs and thus it can be concluded that the supportive elements of the altar that consist of the altar table, cross, cloth, candle and the “”(Alfa-Omega) symbol possess iconic relationships with the church altar of HKBP Surabaya. These signs themselves convey the theological messages of: “God’s Ark”, “Holy Communion”, “Christianity”, “Law of Love” and the “Holy Trinity of Father, Son and Holy Spirit.”

Documentation of a Native American Church Altar in Caddo County, Oklahoma

What little research that has been done in Caddo County, Oklahoma (and elsewhere) with Caddo Native American Church altars or "fireplace" locations show that there is a desperate need to document and record these locations for future generations. However, even with the paucity of this research, it is feasible to suggest that these ceremonial altars, their stylistic differences, and the passing of this religion to future generations of traditional practitioners have had a very long history. Others have discussed the ceremonial uses of fire, structures, objects, and mounds in the archaeological record, yet have not addressed the appearance and importance of these uses extending into the historic era and their continued use in present day religious rituals among the Caddo peoples. If, according to these researchers, "the prominent role fire and the central hearth played" are "symbols of life itself," then I suggest that these symbols of life must be manifested in some form in present day ceremonial uses. Some researchers go so far as to suggest "in leaving little to chance, these people [in referring to those living at the Harlan site, 34CK6I combined tangible elements of their material world with performance in acting out an ordered structure of belief." These belief systems, then, become a large part of the physical and archaeological record left behind, but not only this, many of these belief systems of the past have been carried on in the present through the peyotism ceremonies of the Native American Church. In studies of the historic Caddo, it is not unlikely that similar altars could be found in areas such as the Brazos Reserve on the Brazos River in Young County, Texas, Caddo Lake, and Timber HiJI (41MR211), an early 19th century Caddo village near Caddo Lake, as well as other pre-1859 Caddo sites across eastern Texas. Moreover. similar altars may never have been accounted for in the archaeological record of these areas, as archaeologists working in these areas may have been unaware of what was being observed, its particular use, and unknowingly failed to record them as significant in any way. Furthermore, the ceremonial altars themselves could have been a part of the natural landscape, thus making identification of these places extremely difficult.

The Architectural Setting of the Cult of Saints in the Early Christian West c. 300-c.1200 (review)

168 Reviews now housed in the Wallraf-Richartz-Museum in Cologne. This clustering of families around the image of the Virgin and Child with St Anne is extremely unusual, and I, for one, would like to know more about this image and its context. The shape of this book is, in part, dictated by the fact it is the first systematic survey of this material to be published in any language since 1925. One strange element of the book is the absence of named scholars in the main chapters. Corley refers to general trends in scholarly thought but does not indicate in the text w h o these figures are. This makes it difficult sometimes to identify whether the arguments made in the book are new or if the author is drawing on the arguments of others. It is not until she discusses the literature in the Epilogue that this becomes clearer. While this does mean that the text is less cluttered by names, given the interest in arguing around issues of attribution it would have been more appropriate to identify whose scholarship she was using, and also where she was arguing her o w n case. This is a very scholarly and solid piece of writing, which will undoubtedly be of use to many students of Northern art. It makes more accessible to Englishspeaking scholars a wealth of material that will undoubtedly enrich our discussion offifteenth-centuryart in particular. Judith Collard Art History and Theory University ofOtago Crook, John, The Architectural Setting of the Cult of Saints in the Early Ch West c. 300-c. 1200 (Oxford Historical Monographs), Oxford, Clarendon Press, 2000, cloth; pp. xxv, 308; 111 b/w illustrations; R.R.P. £50.00; ISBN 01982070948. This very interesting work commences with an examination of the various medieval attitudes to the veneration of the relics of saints, noting the general scepticism expressed about 'improbable relics' (p. 9) and the genuine value accorded more historically probable relics. Crook's principal interest is the way in which Christian ecclesiastical architecture developed around the sites ofburial or display of relics. Graves of saints early became foci for religious devotion, and from the mid-second century the cult of Saint Polycarp of Smyrna connected the saint's grave with the church altar. By the late third century the custom of celebrating the Eucharist 'over the bones of the martyrs' (p. 13) was established. Reviews 169 Even ifthe bones of the saint were disinterred, the site of the grave attained the status ofa contact relic, retaining traces of the sanctity of its former inhabitant. From translation of the saint's body to fragmentation of the relics was but a short step, although the popes were still resisting this in the late sixth century. Political reasons may have lain behind this (the city of R o m e possessed many intact saints), but the most important side-effect of it was the growth in the market for contact relics. From these preliminary remarks, Crook progresses to chapters that explore the physical setting of relic cults in specified historical periods. He briefly considers early Roman churches and then dissects the evidence provided by Gregory of Tours for Merovingian Gaul, which involves an analysis of the term crypta, which can mean 'independent hypogea' as well as 'purpose-built Christian burial chambers integrated with churches' (p. 49), the important characteristic being the presence of a vault. Despite Gregory's lack of interest in architectural detail, he provides enough information to identify the basic design, a small chamber with limited access, usually by one door, and unsuitable for large numbers ofpilgrims. Crook notes that from the late sixth century in Gaul subterranean chambers passed out ofuse, with bodies being displayed in the main church. The altar once again became a focal point, and relics were placed both under and within it. Some information is given about Merovingian tomb structures (for example, that of Saint Wandregilsus at Fontanelle; that of Saint Otmar at Saint-Gall). The next chapter deals with the architectural developments of the Carolingian renaissance and again Crook locates those changes in the context of the relic cult in the city of Rome. The ring-crypt...

A Wall Painting of a Saint's Face in the Church of Mt. Berenice

A small fragment of a fresco bearing the beautifully painted face of a Christian saint rested alongside the marble slab that once lay under the Anchor Church's altar. Was the face integral to the church's decoration or a special deposit? Who was the artist and who was the saint?

The Sacramental Poetry of George Herbert

Since the beginning of century, critics have been rediscovering the complexity of George Herbert's apparently simple and easy-flowing religious verse. Until the 20th century, critics treated Herbert as a sincere religious poet and little more until someone noticed what he was doing with the form of most of his lyrics. gentle poet of the tiny church of Bemerton has proven to be a continual source of amazement for those who have bothered to track him in his formal tricks. In some ways, especially in his search for relationships between meaning and form, he is the most baroque of English poets. In a 1968 article, I analyzed Herbert's baroque qualities, using as a jumping-off place Heinrich Wolfflin's famous statement, ... form must breathe. That is, apart from all expressional differences, the basic notion of the Baroque.' (And we are all acquainted with John Ciardi's famous title: How Does A Poem Mean?) But Herbert went far beyond the usual implications of that concept. Herbert went straight to the heart of the traditional Anglican definition of a sacrament-The outward and visible sign of an inward and spiritual grace-and became a highly conscious practitioner of sacramental poetry. In paper, I will try to show the range of expression he employed in bringing that belief into the construction of his poems. most obvious examples are Herbert's Shaped Poems: The Altar and Easter Wings. It is too easy to notice only the usual 17thcentury genre, however, and miss the detailed message that Herbert conveys with his use of the form. The Altar has a great many internal messages that are essential to the meaning of the poem. First, of course, is the fact that it is an Old Testament altar rather than a contemporary church altar. It is constructed of stones of natural shape, those cut by God rather than man. There is no cement except the natural cement of tears. No workman's tool hath touched the same.2 Second, the altar is Herbert's heart, which is a stone so hard As nothing but / Thy pow'r doth cut. Third, the altar is the poem itself, this frame / To praise thy

XLIX Puritanism and Progress

T he central notion which characterizes both the earlier and the more recent contributions of Christopher Hill to the historiography of the seventeenth century is that this was an age in which men's opinions on an enormous variety of topics set naturally into a religious mould. If this is so true as to be a truism, it is due to Hill's work and to that of Weber and Tawney before him that it has attained to that level of historical orthodoxy which finds regular expression even in the most commonplace of undergraduate essays. Nevertheless, even some of the most recent studies of religious history have dismally failed to take account of the extra-religious dimensions of religious beliefs and practices, while there are still many economic historians who imagine that they can achieve understanding of seventeenth-century economic behaviour by reference solely to autonomously economic considerations. Clearly there are still important areas of historiographical darkness into which the light cast by Mr Hill's work has yet to penetrate. The appreciation of the central importance of religion as the vehicle of what nowadays would be regarded as extra-religious ideas is, of course, common to a number of widely differing interpretations, and, as such, is an important factor in Mr Hill's own historiographical progress. On the one hand, religious belief can be viewed as an ideology which reflects more fundamental material interests. Thus, to the Marxist, Puritanism is the ideology of the aspiring bourgeoisie, while to other historians it is significant mainly as an ideology of exclusion, deprivation and economic decline. On the other hand, the all-pervasive quality of religion can be regarded as testifying to its supreme importance per se in the lives of seventeenth-century men and women. Thus we may eventually reach the conclusion that, after all, the struggles of the early and mid-seventeenth century can aptly be described as the Puritan Revolution, though with the proviso that Puritanism is made to mean far more than Gardiner and Firth even hinted at. Men argued about the beauty of holiness, the position of the altar in church, the use of the sign of the cross in baptism and the wearing of the surplice precisely because religion was something which affected their every significant action. The perils of antinomianism were never very great, even to the most rigid believer in Predestination. It is to the modern divorce between religion and everyday life, which lies at the root of some of the most prevalent and currently fashionable modes of historical Whiggism, that we should look for an explanation of the fact that such doctrinal and similar issues are today left to the largely disregarded speculations of a few professional and amateur theologians. It is partly his realization of