Acta ad Archaeologiam et Artium Historiam Pertinentia

The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies 'rewired' their participants. This paper demonstrates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors - the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community - are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the concrete conditions of a particular titular church. The basilica's early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to-date. In Pope Gregory's remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically organized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. Increasing hierarchization may have enhanced the transformational power of the Eucharist, or impeded it.&#x0D; Keywords: S. Maria in Trastevere, stational liturgy, tituli, presbyterium.&#x0D; On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Dale Kinney

Acta ad archaeologiam et artium historiam pertinentia

Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)

礼拜仪式、空间与社区：朱利叶斯巴西利卡（圣玛利亚在特拉斯泰韦雷）

This article focuses on miracle narratives associated with saints originating in the Nordic region, written from the 12th to the 15th century, where a rich collection of images of children present around and inside of churches and at shrines can be found. Many of the tales portray children in devotional activities, giving an indication of how children moved and acted in these spaces. The events described often transpire during prayers and services, and show how children were seen and heard in spaces where liturgical activity shaped the rhythms of the day and the year. By examining how children are presented, as present and participating in these spaces, and by noting the bits of sensory information given in the narratives, this article adds to our mental image of the religious practices as well as sensory experiences of medieval children.&#x0D; Keywords: Medieval children, miracles, Nordic saints, hagiography, sensory experience. &#x0D; On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Rakel Igland Diesen

During Credo He Shouted "Blessed be […]; now I can hear": Nordic Child Miraculees Interacting with Liturgy

在信条期间他高呼“愿[…]受祝福；现在我能听见”：北欧儿童奇迹者与礼拜仪式的互动

This article uses analytical concepts from cognitive science to explore and deepen our understanding of how medieval monastics imagined themselves as characters within biblical narratives. It argues that Cistercian monks - and in particular Bernard of Clairvaux - used techniques of imaginative immersion to enter and blend themselves into biblical viewpoints and events, thereby engaging the monks in epistemically and personally transformative experiences. The article concludes that this served to build community and to enculture monks and converts. Specifically, the article offers a close reading of two of Bernard's liturgical sermons, Sermon Two for Palm Sunday and Sermon Two on the Resurrection, to show how his sermons 1) traverse time and space and 2) blend viewpoints. Examples are also taken from texts by John Cassian, Augustine, Gregory the Great, and William of St. Thierry.&#x0D; Keywords: Bernard of Clairvaux, blended viewpoint, deictic displacement, lectio divina, liturgical time and space. &#x0D; On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Line Cecilie Engh

Imaginative immersion in the Cistercian Cloister

西多会修道院中的想象沉浸

"This special issue of Acta ad archaeologiam et artium historiam pertinentia (from now on Acta) interrogates religious practices of reading, writing, praying and engaging with texts, images, architecture, music, and ritual spaces in late antique Rome and medieval Europe. More specifically, it aims to analyze and deepen our understanding of how liturgy and religious practice modeled and modified selves and communities, how they shaped and transformed identities and built communities - both individual and collective, religious and lay".&#x0D; &#x0D; On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Stefka G. Eriksen

Francis F. Steen

Homo renovatur de die in diem: Transforming Selves and Communities

日新又新：自我与社群的转变

This article examines a number of Carolingian liturgical manuscripts (Wolfenbuttel Herzog August Bibliothek Wissenbourg 91, Cologne Dombibliothek MS 138, Vienna Österreichische Nationalbibliothek cod.ser.n. 2762 and Paris Bibliothèque de l'Arsenal 227) each containing texts now known as the ordines romani. These texts are "stage directions" for the liturgy, distinguished by their reference to the practices of the church of Rome. While the ordines romani certainly give precious information about Roman liturgical practice, the Frankish contribution to shaping and displaying these texts inline with their own priorities and usages must be acknowledged too. For example, these manuscripts all combine ordines romani with texts about Roman history and topography. For these readers, the desired imitation of Roman liturgical practice was not about copying any particular text or practice by rote, but a deeper form of participation that involved the construction of an image of Rome across a whole manuscript. The given image of Rome responded to the institutional or personal needs animating the manuscript. These manuscripts compel us to imagine diverse practices of reading within and without liturgical performance.&#x0D; Keywords: pontificals, topography, Ordines, manuscripts, Carolingians.&#x0D; On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Arthur Westwell

The Ordines Romani and the Carolingian Choreography of a Liturgical Route to Rome

罗马秩序与加洛林王朝的罗马礼拜路线编排

This article presents a research project conducted by nine scholars that culminated in a publication. As Project Leader, I had the privilege of coordinating this interdisciplinary, bilingual, and inter-university group entitled Rome and Women’s Response to Crisis: from Early Christianity to the Present Day, which critically examines - from a spiritual, socio-political, and cultural perspective - the stories of heroic Roman women who bravely confronted the crises of their time, from the earliest days of Christianity to the present. In addition to exploring the historical, socio-political, cultural, and spiritual contexts in which these heroic female protagonists lived and worked, the authors of the essays also emphasise – in explicit or implicit ways - the critical role which the theological virtues of faith, hope, and charity played in their lives and cardinal virtues of fortitude, prudence, justice, and temperance. There is also a captivating reading on Saint Catherine of Siena’s virtue of patience. Nevertheless, it is not only through the lens of moral excellence that we learn about ordinary women living extraordinary lives as sisters, spouses, virgins, and mothers - both natural and spiritual. Towards the end of the article, there are passages drawn from Andrea Donati’s contribution about Vittoria Colonna, one of the early modern protagonists to whom the Symposium was dedicated.

Kinga Araya

Rome and Women’s Response to Crisis: from Early Christianity to the Present Day

罗马与女性对危机的回应：从早期基督教至今

Un caso di studio paradigmatico per mostrare l’accoglienza e l’eredità di una santa donna nella prima epoca moderna tra Roma e Lazio è certamente offerto dalla liturgia di Rosa da Viterbo. Fu dalla seconda metà del XV secolo e per tutto il XVI che si allestì una liturgia propria – per l’ufficio delle ore e per la messa – e si fissò la memoria liturgica della giovane santa viterbese. Dopo aver chiarito il contesto e si innesta il culto di Rosa, si darà conto della specialità della liturgia rosiana.

Eleonora Rava

Filippo Sedda

Rorarunt coeli. La liturgia di santa Rosa da Viterbo

罗兰伦特·科利。圣罗莎·达维特博的礼仪

La percezione dell’autorialità femminile in merito a testi di tipo religioso tra Medioevo ed Età Moderna sta al centro di questo contributo, dove è proposta una riflessione che prende l’avvio da casi eccezionali, collocati ai due estremi del “sacro”: la diabolicità e la santità.

Isabella Gagliardi

Scrittrici del Diavolo, scrittrici di Dio

魔鬼的作家，上帝的作家

The hagiography of the prophet and Dominican tertiary Caterina da Racconigi (1476-1547) is an impressive testimony of the construction of sanctity in sixteenth-century Italy. The hagiographic narrative responds to the often-contrasting needs of the common people disappointed by the corrupt clergy and seeking a path to salvation; to the clergy that strove to revive popular devotion; and to some parts of the humanist circles, looking for an answer to the religious and intellectual doubt that especially originated after the Reformation. Through the analysis of some passages of the two extant hagiographies of Caterina da Racconigi – Vitta et legenda, written by Caterina’s confessors, and Compendio delle cose mirabili, written by the philosopher Gianfrancesco Pico della Mirandola – this article examinates the multi-layered meanings attributed to sanctity during the religious crisis of the sixteenth century. Reform, intellectual and religious doubt and certainty, and human freedom emerge as fundamental pillars of the hagiographic logic that shaped the language of sanctity.&#x0D;

Eleonora Cappuccilli

Saints and Sanctity for Critical Times: the Hagiography of Caterina da Racconigi

危难时期的圣徒与神圣：卡特琳娜·达·拉科尼吉的圣徒传记

Suor Francesca Farnese, al secolo Isabella, apparteneva a un ramo della famiglia dei Farnese, quella dei Duchi di Latera e Farnese. La sua educazione fu affidata alle suore Clarisse di San Lorenzo in Panisperna e, dopo averla completata, fece ritorno in famiglia, ma, dopo pochi mesi, sentì il richiamo della vita monastica. Secondo una prassi tipica della santità eroica barocca, fu protagonista di un travaglio interiore che la portò sempre più verso un crescente rigore, proponendo un modello di sé di difficile condivisione nei monasteri romani. Nel quadro della Roma barocca suor Francesca si affermò in qualità di riformatrice dell’ordine di Santa Chiara e di committente di quattro monasteri distribuiti sul territorio laziale. In questo ambizioso progetto, la Farnese fu sostenuta dal cardinale Francesco Barberini, nominato dal 1638 protettore dell’ordine riformato, ma anche da nobildonne romane che trovarono in lei un modello da imitare. Il progetto della Farnese fu interrotto dalla sua morte avvenuta nel 1651, ma la sua eredità fu raccolta dal cardinale protettore, Francesco Barberini, che si fece artefice della costruzione di un altro monastero, l’ultimo in ordine di tempo: il monastero di Santa Maria della Provvidenza a Fara in Sabina, che ebbe un ordinamento dalle caratteristiche speciali, poiché vennero fuse le disposizioni dei padri francescani di San Pietro d’Alcantara della provincia napoletana con le Costituzioni di suor Francesca. Queste prescrivevano l’abolizione dell’accoglienza di zitelle, la proibizione di ricevere visite, anche di parenti stretti, o di avere notizie dall’esterno. La vita spirituale doveva essere dominata dalla centralità del rapporto dell’individuo con Dio; un posto speciale era riservato al silenzio. Il cardinale Barberini nominò le Solitarie eredi universali al momento della morte nel 1679.

涉及主题	art historyarcheologyhistoryhistory of ideasmediterranean studiescultural history
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