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This study describes and analyses the Swedish ecclesiastical heritage as well as the structures and systems that provide conditions and frameworks for how it is perceived and managed. One purpose is to explain today’s situation concerning the 3,000 historic church buildings and sites protected by national heritage legislation and owned by the Church of Sweden. Furthermore, the study analyses how the approaches, paradigms or discourses, which define that ecclesiastical heritage, have changed over the past two centuries. The study aims to bridge the gaps between antiquarian, art history and conservation discourses, where churches are mainly seen as material historic objects and other discourses that regard churches as living heritage, intangible heritage, or as resources for human rights and sustainable development. The analyses are based on theories such as the concepts of Authorized Heritage Discourse, heritagisation, secularisation, and research methods as discourse analysis and self-reflexivity. The study defines and discusses the Church Antiquarian System, which includes the State-Church agreement, the Historic Environment Act and the State financial compensation. The analyses show that the system is based on a partly outdated conservation approach, with origins in an even older nineteenth-century antiquarian discourse, that is not consistent with the national heritage policy adopted by the Swedish parliament. Thus, it blocks a necessary development where many redundant churches could be revitalised as resources for society. The current approach, as well as the Church’s use of its heritage and history, contribute to a deliberately created positive image, avoiding dark or controversial heritage that illustrates abuse of groups of people such as “witches” in the seventeenth century. To achieve the desired development towards a holistic and inclusive approach to ecclesiastical heritage, several recommendations are given. These include identification of heritage disc

Initially, the subject of this paper was to investigate how the Swedish cultural heritage law (Kulturmiljölagen 1988:950) affects the church buildings of the Church of Sweden. When the parishes of the Church of Sweden wish to change their churches interiors to fit contemporary liturgical ideals they must first seek permission from the County Administrative Boards who ensures the preservation of the ecclesiastical heritage. According to Swedish cultural policy, the ecclesiastical heritage shall be preserved, used and developed. Conducting an investigation of how the Swedish cultural heritage law affects the Church of Sweden would call for a far more extensive study than can be managed in this paper. Therefore, I decided to make a case study on one specific church’s remodeling. Furthermore, I wanted to choose a renovation and restauration that put this law to the test. The choice quickly fell upon the renovation and restauration of Fredrikskyrkan in Karlskrona. This remodeling project is interesting in many ways because it transforms the church interior in a radical way. It also ended up in court because the parish, Karlskrona-Aspö parish, and the County Administrative Board in Blekinge could not agree. How the court motivated their decision is therefore of great interest to this paper. However, this study aims not only to perform a case study of Fredrikskyrkan but also to study how the Church of Sweden and the Swedish National Heritage Board interprets and problematizes the cultural heritage law. This will be accomplished by studying two books published by both. The remodeling project of Fredrikskyrkan is characterized by the new liturgical demands together with a desire to create a flexible room where activities, staff area and worship can be accommodated together. This paper draws the conclusion that the parish’s tough economic situation, together with new liturgical demands, are the primary motives behind the radical remodeling. The Church of Sweden is losing memb

[ES] El objetivo principal de la investigación desarrollada en este trabajo final de master, es poner en valor la Iglesia de Santa Catalina Virgen y Mártir, ubicada en Alzira, capital de la Ribera Alta, Valencia. El estudio tiene como objetivo conseguir una difusión y un reencuentro de la sociedad valenciana con el bien. La iglesia de Santa Catalina, construida en la segunda mitad del siglo XVIII, tiene una historia y un patrimonio únicos que deben ser conocidos y apreciados por la población. Para ello, se ha realizado un estudio bibliográfico con el fin de contextualizar histórica y artísticamente la Iglesia, destacando aspectos como las modificaciones del edificio, las necesidades religiosas y los cambios sociológicos a los que ha sido sometida. Con el fin de generar interés en el contenido artístico de Santa Catalina, el cuerpo de la obra se enfoca en un registro e inventario de una parte representativa de sus activos, así como en la creación de una base de datos que ayude a encontrar la información deseada con mayor facilidad. Además, bajo características específicas, se han seleccionado las tres obras más representativas del templo para ser analizadas en detalle, para su correcta catalogación, como herramienta de conservación y registro sistemático. Este documento finaliza con una reflexión sobre el impacto generado y esperado, los resultados obtenidos y una comparación con otros estudios sobre la puesta en valor del patrimonio eclesiástico., [CA] La investigació duta a terme en el present Treball Final de Màster té com a objectiu principal la posada en valor de l'Església de Santa Catalina Verge i Màrtir, situada a Alzira, capital de la Ribera Alta, València. Amb l'estudi es pretén aconseguir una difusió i un retrobament de la societat valenciana amb el bé. L'església Santa Catalina, construïda en la segona meitat del segle XVIII, té una història i un patrimoni únic que ha de ser conegut i estimat per la població. Per a aconseguir-ho, s'ha realitzat un buidatge bibliogràfic amb la finalitat de contextualitzar històrica i artísticament l'església, destacant aspectes com les modificacions de l'edificació, les necessitats religioses i els canvis sociològics als quals ha estat sotmesa. Per a generar interés respecte del contingut artístic de Santa Catalina, el cos del treball se centra un registre i inventariat d'una part representativa del conjunt dels seus béns, així com una i creació d'una base de dades que ajude a trobar més fàcilment la informació desitjada. A més, sota unes característiques concretes, s'han seleccionat les tres obres més representatives del temple per a ser analitzades detalladament, per a la seua correcta catalogació, com a utensili de conservació i registre sistemàtic. El present document finalitza amb una reflexió sobre l'impacte generat i l'esperat, els resultats obtinguts i una comparativa amb altres estudis de posada en valor del patrimoni eclesiàstic., [EN] The main objective of the research carried out in this Master's thesis is to enhance the value of the Church of Santa Catalina Virgen y Mártir, located in Alzira, capital of the Ribera Alta, Valencia. The study aims to achieve a dissemination and a reunion of the Valencian society with the good. The Santa Catalina church, built in the second half of the 18th century, has a unique history and heritage that should be known and appreciated by the population. To achieve this, a bibliographic sweep has been carried out in order to historically and artistically contextualize the church, highlighting aspects such as the modifications to the building, the religious needs and the sociological changes to which it has been subjected. In order to generate interest in the artistic content of Santa Catalina, the body of the work focuses on a registry and inventory of a representative part of its assets, as well as the creation of a database to help find the desired information more easily. In addition, under specific characteristics, the three most representative works of the temple have been selected to be analyzed in detail, for their correct cataloguing, as a tool for conservation and systematic registration. This document ends with a reflection on the impact generated and expected, the results obtained and a comparison with other studies on the enhancement of ecclesiastical heritage.

Religious architectural heritage is largely widespread on the Italian territory and it is subject to several kind of risks, particularly concentrated in Italy. Exposure to risks, worsened by underuse and lack of maintenance of these buildings lead to the necessary development of conservation, reuse and transformation strategies in order to preserve this heritage in a safety state. In this perspective, this contribution presents first results of a research project conducted by Politecnico di Torino, which developed a tool for vulnerability and risk rapid analysis of the ecclesiastical religious heritage. This method assumes large and systematic knowledge about the aforementioned heritage. It can be used for decision support and planning of interventions and activities by heritage managing bodies in order to optimize strategies by considering territorial, safety and architectural suitability. Although the proposed method can not be applied to the heritage of religious orders and congregations, due to the lack of an official census, this contribution allows to design new scenarios of research and reflections to be conducted in future studies in the field of reuse and transformation of religious heritage.

The plurality of architectural languages, construction solutions and ownership structures of Italian religious heritage is an expression of the rich ecclesial history of the different places where the Church has developed territorialisation processes. The outcome of these processes is a cultural heritage still difficult to document in its quantity and spatial distribution, but whose knowledge on a large scale is the necessary prerequisite for any single transformation and reuse. The essay presents a summary framework relating to the tools of knowledge available on the heritage of religious interest and to the international critical debate on the methods of historical analysis and proposed reuse. In conclusion some perspectives of development of the theme are underlined according to the recent document of the Pontifical Council for Culture.

In several documents, the Church of Sweden has expressed that participation in the Church’s cultural heritage is a common right. According to the Church of Sweden’s cultural heritage goals, “the ecclesiastical cultural heritage belongs to all”. In the Church’s report to the government 2014, this is expressed as “Everyone who lives in Sweden is entitled to the history previous generations have created” and “access to the ecclesiastical cultural heritage is a right”. The article discusses what this “right” means and on what grounds it is based. It investigates the right to participate in ecclesiastical heritage on the basis of common cultural rights, according to international conventions and, more specifically, on the basis of rights to the ecclesiastical heritage according to national cultural policies. The article states that not only demolition but also closure, privatization, or otherwise inaccessibility of common and public ecclesiastical heritage may mean that people’s rights are not fulfilled and therefore neither conventions nor legislation are followed. Finally, it also discusses the right to assess ecclesiastical heritage values and the development of methods to increase participation in this work.

[SPA] La iglesia parroquial de Linares de Mora, declarada Bien de Interés Cultural en el año 2001, es una construcción barroca de finales del siglo XVIII. El edifico es un hito paisajístico en la pequeña población turolense por sus dimensiones monumentales y por su campanario exento. Su proyecto de restauración nace como respuesta a las múltiples patologías que presenta debidas tanto a problemas estructurales de segundo orden como a humedades; pero sobre todo por la necesidad de proporcionar un decoro superficial a un edificio de esta categoría. Si bien son muchas las incógnitas y singularidades que aún presenta, su proyecto de restauración ha permitido descubrir espacios susceptibles de musealización que explican perfectamente su historia construida y la del bien patrimonial., [ENG] Linares de Mora Parish church, declared an Asset of Cultural Interest in 2001, is a late 18th century baroque building. The building is a landmark in the little Teruel village through its monumental size and its separate, or free-standing, bell tower. Its restoration project came about as a response to the many pathologies found there due both to second order structural problems and damp, but, above all, through the need to provide a surface refurbishment for a building of this category. Though there are many unknown factors and singularities still involved, its restoration project has enabled areas suitable for museum use to be discovered, for a proper explanation of its building history and that of the heritage asset.

La iglesia parroquial de Linares de Mora, declarada Bien de Interés Cultural en el año 2001, es una construcción barroca de finales del siglo XVIII. El edifico es un hito paisajístico en la pequeña población turolense por sus dimensiones monumentales y por su campanario exento. Su proyecto de restauración nace como respuesta a las múltiples patologías que presenta debidas tanto a problemas estructurales de segundo orden como a humedades; pero sobre todo por la necesidad de proporcionar un decoro superficial a un edificio de esta categoría. Si bien son muchas las incógnitas y singularidades que aún presenta, su proyecto de restauración ha permitido descubrir espacios susceptibles de musealización que explican perfectamente su historia construida y la del bien patrimonial, Linares de Mora Parish church, declared an Asset of Cultural Interest in 2001, is a late 18th century baroque building. The building is a landmark in the little Teruel village through its monumental size and its separate, or free-standing, bell tower. Its restoration project came about as a response to the many pathologies found there due both to second order structural problems and damp, but, above all, through the need to provide a surface refurbishment for a building of this category. Though there are many unknown factors and singularities still involved, its restoration project has enabled areas suitable for museum use to be discovered, for a proper explanation of its building history and that of the heritage asset.

[Abstract] Seismic events demonstrated the high level of structural vulnerability of Italian ecclesiastical heritage. This paper investigates liturgical reordering applied (or not applied) in the post-earthquake reconstruction of churches. The aim is to analyze if the tragic circumstance of a post-earthquake reconstruction has been taken as an opportunity to renovate the sacramental space as a whole, and above all, to evaluate in which way the memory of the disaster and mourning may have influenced the celebratory aspects. The paper focus on the several criteria that may support choices for churches reconstruction, with or without the assimilation of the liturgical modifications introduced by the Second Vatican Council. If fifty years later, the process of the liturgical modification continues to be problematic in churches with a high heritage or historical value, the issue is event more complex for those buildings affected by catastrophic event and where communities are wounded by traumatic event as an earthquake., [Resumen] Los eventos sísmicos demostraron el alto nivel de vulnerabilidad sísmica del patrimonio eclesiástico italiano. Este artículo investiga el reordenamiento litúrgico aplicado (o no aplicado) en la reconstrucción de iglesias después del terremoto. El objetivo es analizar si la trágica circunstancia de una reconstrucción posterior al terremoto se ha aprovechado como una oportunidad para renovar el espacio sacramental en su conjunto y, sobre todo, para evaluar de qué manera la memoria del desastre y el duelo pueden haber influido en los aspecto celebrativos. El documento se centra en los diversos criterios que pueden apoyar las decisiones lpara la reconstrucción de iglesias, con o sin la asimilación de las modificaciones litúrgicas introducidas por el Concilio Vaticano II. Si cincuenta años después, el proceso de modificación litúrgica continúa siendo problemático en iglesias con un alto patrimonio o valor histórico, el problema es aún más complejo para aquellos edificios afectados por eventos catastróficos y donde las comunidades son heridas por un evento traumático como un terremoto.

[Resumen] Aunque consideramos que el Concilio Vaticano II es el destino final de un camino de renovación para la historia del arte sacro contemporáneo, sin embargo, es necesario centrarse en su fase preparatoria durante los años de reconstrucción de la posguerra. Aunque el primer impulso a este proceso se dio con la institución de la Comisión Central Pontificia para el Arte Sacro (CCPAS), muy deseada por Pío XI, cuyo propósito era mantener «un sentido del arte cristiano», la figura clave para la formación de los artistas primero, y luego por la compleja tarea de dirigir las obras de reconstrucción de todos los edificios eclesiásticos devastados por la furia de la guerra, fue Mons. Giovanni Costantini, tercer presidente de CCPAS. Esta contribución tiene como objetivo resaltar, a través de una lectura comparativa de fuentes de archivo inéditas, relacionadas con la región de Abruzzo, y literatura consolidada, cuáles fueron los dictados de CCPAS con respecto a las intervenciones en edificios existentes y cómo influyeron en los resultados que surgieron durante el primer período de reconstrucción (1945-56)., [Abstract] Although we consider the Second Vatican Council the final destination of a path of renewal for the history of contemporary sacred art, it is, however, necessary to focus on its preparatory phase during the years of post-war reconstruction. Though the first impulse to this process was given with the institution of the Pontifical Central Commission for Sacred Art (PCCSA), strongly desired by Pius XI, whose purpose was to maintain «a sense of Christian art», the key figure for the formation of the artists first, and then for the complex task of directing the reconstruction works of all the ecclesiastical buildings devastated by the fury of the war, was Msgr. Giovanni Costantini, third president of the PCCSA. This contribution aims to highlight, through a comparative reading of unpublished archival sources, relating to the Abruzzo region, and consolidated literature, what were the dictates of the PCCSA regarding interventions on existing buildings and how they influenced the results that arose during the first period of reconstruction (1945-56).